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THE  BENSON  LIBRARY  OF  HYMNOLOGY 

Endowed  by  the  Reverend 

Louis  Fitzgerald  Benson,  d.d. 

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LIBRARY  OF  THE  THEOLOGICAL  SEMINARY 
PRINCETON,  NEW  JERSEY 


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Digitized  by  the  Internet  Archive 

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©rganiat  ano  Choirmaster  of  Urintt?  Cburcb,  1866-1897 


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Copyright,   1906, 
By    A.     H.     MESSITER 


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PREFACE 

THIS  History  of  Trinity  Church  Music  had  its  rise  in 
a  suggestion  by  the  editor  of  The  Trinity  Church 
Record  that  I  should  furnish  for  that  paper  some  reminis- 
cences of  my  experiences  at  Trinity  Church.  In  accord- 
ance with  this  suggestion  a  series  of  articles  was  written 
by  me  and  printed  in  the  Record;  these  contained  a  full 
account  of  the  music  at  Trinity  Church  for  about  fifteen 
years,  from  1866,  and  are  included  in  the  present  book. 

It  afterwards  seemed  to  me  desirable  to  expand  these 
articles  into  a  full  history  of  Trinity  Church  music,  as 
complete  as  possible,  from  the  establishment  of  the  Par- 
ish. With  this  view  I  made  researches,  occupying  several 
months,  into  the  early  history  of  the  Parish  and  city,  and 
completed  the  record  of  my  own  musical  administration 
up  to  the  date  of  my  retirement  in  1897. 

Among  the  documents  consulted  and  examined  were: 

Dr.  Hodges'  MS.  Records. 

Dr.  Cutler's  MS.  Records. 

Extracts  from  Minutes  of  the  Vestry  for  a  limited 
period. 

"  History  of  Trinity  Church,"  by  the  Rev.  Dr.  Berrian. 

Collection  of  newspaper  paragraphs  relating  to  Trinity 
Church,  in  possession  of  the  Historical  Society. 

"  A  Two  Years'  Journal  in  New  York,"  by  Rev.  C. 
Wolley. 

"  Churches  of  New  York,"  by  Disosway. 

Histories  of  New  York  City.    Stone,  Wilson,  etc. 

Ritter:  "History  of  American  Music." 

Etc.,  etc. 


viii  Preface 

Dr.  Edward  Hodges  left  thirty  folio  volumes  of  closely 
written  details  of  his  daily  musical  life.  As  they  contain 
much  matter  of  a  personal  nature,  I  was  not  permitted  to 
examine  them,  but  his  son,  the  Rev.  J.  S.  B.  Hodges, 
D.D.,  of  Baltimore,  very  kindly  read  to  me  everything 
relating  to  my  subject,  and  I  wrote  out  such  extracts  then 
and  there. 

Dr.  Cutler  gave  me  the  unrestricted  use  of  his  pri- 
vate records ;  two  or  three  small  volumes,  containing  pro- 
grammes of  services,  criticism,  etc.  These  were  also  of 
great  value. 

The  Rev.  Dr.  Dix  kindly  lent  me  some  extracts  from 
the  Vestry  Minutes,  made  for  the  purpose  of  his  own  his- 
tory of  the  Parish ;  these  covered  only  a  limited  period  up 
to  1797. 

I  am  also  indebted  to  several  veterans  of  the  earlier 
choirs,  notably  Mr.  A.  G.  Wood  and  Mr.  J.  Outcalt,  for 
interesting  details. 

The  development  of  Church  music  in  the  older  coun- 
tries has  been  the  work  of  centuries;  we  move  fast  here, 
and,  aided  by  their  experience,  have  advanced  from  the 
crudest  beginnings  to  the  highest  achievements  in  about 
fifty  years.  My  imperfect  picture  of  such  development 
will,  it  is  hoped,  prove  interesting  not  only  to  those  who 
have  taken  part  in  the  services  herein  described,  but  also 
to  Church  musicians  and  Church  members  generally. 

This  book  is  published  now  by  former  members  of 
Trinity  Church  Choir  who  look  back  with  pleasure  to 
their  participation  in  the  music  of  the  Church,  and  retain 
their  kind  regard  for  the  old  choirmaster. 

To  them  it  is  gratefully  and  respectfully  dedicated. 

A.  H.  Messiter. 

October,  1906. 


TABLE   OF   CONTENTS 

1'AGE 

Preface vii 

Introductory  History      i 

William  Tuckey 19 

Dr.  Hodges 39 

Consecration  of  Trinity  Church    .......  44 

Dr.  Cutler 72 

Dr.  Messiter 114 

Introduction  of  Orchestra,  1870    .         .         .         .         .         .  135 

Centennial  Celebration,  1876         .         .         .         .         .         .         .167 

Twenty-fifth  Anniversary  of  Dr.  Messiter,  1891    ....  250 

Bicentennial  of  Trinity  Parish,  1897     ......  277 

Appendix  A — Night  Services 289 

Appendix   B — Organs  in  Trinity  Church 290 

Appendix   C — List  of  Choir  Members 310 

Appendix  D — List  of  Composers 318 

Appendix  E — Chronology  of  Developments  in  Service  .        .321 


LIST   OF    PORTRAITS 


Three  Boys,  1859 Frontispiece 

Robjohn,  Maeder,  Gamble.  facing 

PACE 

Dr.  Hodges 40 

Dr.  Cutler 72 

Mr.  Diller 112 

Mr.  Bowman 114 

Dr.  Messiter 120 

Mr.  John  P.  Morgan 126 

Five  Boys,  1865-1877 144 

Knapp,  Livingston,  Pickslay,  B.  Coombe,  V.  Baier. 

Mr.  Carter 150 

Mr.  Lucy-Barnes 188 

Five  Boys,  1876-1882 192 

Case,  W.  R.  Hedden,  Fruttchey,  Von  der  Heide,  Reilly. 

Mr.  Thursch 196 

Mr.  Baier 216 

Five  Boys,  1888-1891 240 

Old,  Belling,  Simpson,  E.  Knapp,  H.  Knapp. 


INTRODUCTORY 


IT  is  due  to  the  providential  establishment  and  endow- 
ment of  the  Parish  of  Trinity,  two  hundred  years 
ago,  in  the  face  of  opposition,  that  the  Episcopal  Church 
occupies  so  strong  a  position,  without  aid  or  countenance 
now  from  the  State,  relying  only  upon  itself  and  its 
Catholic  descent.  The  City  of  New  York  is  its  strong- 
hold, and  the  fourscore  or  more  of  Parishes  are  the  chil- 
dren of  Trinity,  which  has  freely  dispensed  its  resources 
to  found,  endow,  and  support  all  of  the  older  organiza- 
tions, from  which  the  later  ones  have  in  turn  sprung. 

It  is  due  to  the  support  and  influence  of  Trinity  Parish, 
directed  by  liberal  and  enlightened  Rectors  and  Vestries, 
that  Church  music  in  its  best  form  has  been  cultivated  to 
such  an  extent,  has  developed  so  rapidly,  and  spread  over 
the  whole  country,  from  East  to  West.  In  Church  music 
Trinity  Church  has  been  the  pioneer;  in  early  days  Trin- 
ity Church  was  the  model,  in  later  times  the  various 
Churches  of  the  Parish  are  the  models  followed  from 
Maine  to  California.  The  history  of  Trinity  Church 
music  covers  the  history  of  Church  music  throughout  the 
country. 

In  attempting  to  draw  up  a  complete  account  of  its 
gradual  progress  from  the  era  of  the  parish  clerk  and 
pitch  pipe,  one  is  met  by  the  difficulty  that  no  records  were 
kept  on  this  subject  before  1840,  and  that  very  little  infor- 
mation can  be  gathered  from  outside  sources.     The  busi- 


2  Trinity  Church,  New  York 

ness  records  of  the  Corporation  give  some  hints,  mostly 
of  a  financial  character;  and  Dr.  Berrian's  history  has  a 
few  allusions,  here  and  there,  to  musical  matters.  In  the 
last  century  little  could  be  done  for  the  advancement  of 
music — more  important  matters  occupied  men's  thoughts ; 
and  it  is  not  surprising  that  the  elementary  achievements 
of  that  period  were  not  thought  to  be  worth  recording. 

In  the  late  Professor  Ritter's  history  of  "  Music  in 
America  "  (Boston,  1883),  over  one  fourth  of  the  volume 
is  devoted  to  the  history  of  the  Puritan  Psalmody  of 
New  England.  Having  exhausted  that  subject,  the  au- 
thor gives  less  than  one  page  to  Church  music  in  New 
York,  the  Presbyterian  and  Dutch  Reformed  Churches 
having  the  precedence.  Eleven  lines  are  devoted  to  "  Old 
Trinity,"  of  which  he  says:  "The  Episcopalian  service, 
as  performed  in  England,  was  kept  up  with  the  best  means 
possible.  It  seems  even  probable  that  Trinity  Church 
possessed  the  first  organ  in  America."  (He  was  mistaken 
on  the  last  point,  although  Trinity  Church  possessed  the 
first  Church  organ  made  in  this  country. — See  Appendix 
B,  page  290.)  The  important  event  of  a  performance  of 
Handel's  "  Messiah  "  in  this  Church  is  mentioned,  and  a 
footnote  adds  that  "  Trinity  Church  has  always  had 
much  influence  on  the  cultivation  of  Church  music  in  New 
York,"  and  gives  names  of  some  of  the  organists. 

So  little  importance  was  attached  by  the  historian  of 
1880  to  the  English  school  of  Church  music  and  its  intro- 
duction in  this  country,  although  its  influence  and  pre- 
dominance generally  had  been  plainly  evident  for  half  a 
century  before  the  professor  wrote  his  history.  Puritan 
psalmody  never  had  the  slightest  artistic  value,  and  is  now 
an  incongruity,  associated  with  fine  architecture,  stained- 
glass  windows,  and  elaborate  organs. 


Choir  and  Music  3 

The  aim  of  this  book  is  to  sketch  the  history  in  this 
country  of  that  system  of  Church  music  which  is  called 
Anglican,  as  distinct  from  Gregorian,  Roman,  and  Lu- 
theran; exemplified  in  the  musical  history  of  Trinity 
Church,  which  has  continuously  taken  the  lead  in  its  de- 
velopment. Of  the  other  systems,  features  will  be  found 
occasionally  introduced  in  our  musical  practice,  such  as 
Gregorian  chants,  Roman  Masses,  and  Lutheran  hymns; 
but  the  basis  of  the  whole  is  the  traditional  music  of  the 
mother  Church  of  England,  which  had  its  rise  with  the 
Book  of  Common  Prayer,  and  naturally  accompanies  that 
book  in  its  adoption  by  the  American  Church. 

The  chief  elements  of  this  system  are  the  Chant,  the 
Service,  and  the  Anthem;  all  of  which  differ  in  form  and 
spirit  from  the  ecclesiastical  music  of  other  communions, 
and  have  been  devised,  developed,  and  elaborated  always 
as  an  accompaniment  to,  and  illustration  in  music  of,  the 
Book  of  Common  Prayer. 

When  we  remember  what  were  the  religious  opinions 
and  temperament  of  the  first  colonizers  of  this  country, 
it  is  remarkable  that  this  music  has  taken  so  firm  a  hold, 
has  held  its  ground,  and  spread  its  influence  so  far,  even 
into  other  religious  bodies.  The  boy  choir,  vested  or  un- 
vested, has  been  adopted  with  success  in  the  Roman 
Church;  our  settings  of  the  Canticles,  and  still  more  our 
anthems,  are  heard  in  the  worship  of  societies  whose 
religious  opinions  run  in  the  opposite  direction.  The 
younger  generation  of  American  composers  has  perforce 
to  take  English  Church  music  for  its  model  until  some 
American  Palestrina  or  Tallis  shall  arise  to  originate  a 
new  and  distinctively  American  school  of  Church  music. 

Of  the  three  original  colonies,  those  of  New  York  and 
New  England  were  strongly  Calvinist;  the  Dutch  element 


4  Trinity  Church,  New  York 

in  the  former  being  strong  enough  in  1697  to  dispute, 
with  some  prospect  of  success,  the  grant  of  the  newly 
built  Church  to  an  Episcopal  organization.  In  Virginia 
only  was  the  Church  of  England  established  and  sus- 
tained by  the  early  colonists,  and  it  is  in  this  province 
that  we  find  mention  of  the  earliest  surpliced  choir.  Mr. 
Whitney,  in  his  interesting  article  on  surpliced  choirs 
(New  England  Magazine,  April,  1892),  states,  "on  un- 
doubted authority,"  that  there  was  such  a  choir  at  St. 
Michael's  Church,  Charleston,  S.  C,  in  1798.  The  first 
vested  choir  in  New  York  State,  according  to  the  same 
writer,  was  organized  in  1841  by  the  Rev.  Dr.  Hawkes, 
at  Flushing,  L.  I.  Trinity  Church  choir  was  vested  for 
the  first  time  in  1859;  that  of  the  Church  of  the  Advent, 
in  Boston,  at  about  the  same  period. 

II 

Diedrich  Knickerbocker  begins  his  veracious  history 
of  New  York,  at  the  creation  of  the  world,  of  which  he 
gives  the  various  theories  advanced  by  learned  writers 
of  all  ages,  going  on  to  show  that  it  was  due  to  the  fact 
of  Noah  having  only  three  sons  that  the  discovery  and 
settlement  of  this  continent  were  postponed  until  the 
seventeenth  century.  For,  as  the  three  continents  of  Asia, 
Africa,  and  Europe  were  severally  allotted  to  Shem,  Ham, 
and  Japhet,  so,  if  there  had  been  a  fourth  son,  his  share 
would  have  been  the  continent  of  America.  In  this  case 
we  should  not  be  in  doubt  whether  the  aborigines,  Aztec 
or  Indian,  were  descendants  of  Shem,  who  wandered  to 
this  continent  by  way  of  "  Greenland's  icy  mountains," 
or  were  evolved,  according  to  the  Darwinian  theory,  from 
apes. 


Choir  and  Music  5 

Less  than  three  hundred  years  ago,  nine  generations 
of  men,  the  only  human  dwellers  on  this  island  of  Man- 
hattan were  a  tribe  of  these  aborigines,  who  were  now 
to  retire  before  civilization,  as  introduced  by  the  Dutch, 
at  that  time  one  of  the  most  enterprising  nations  of  Eu- 
rope, and  therefore  of  the  world. 

The  Dutch  settlers  were  not  unmindful  of  their  re- 
ligious duties,  and  provision  was  made  at  an  early  date 
for  public  worship  according  to  the  usage  of  their  Church, 
which  was  Calvinistic. 

Before  the  arrival,  in  1628,  of  the  first  regular  min- 
ister, Rev.  Jonas  Michaelus,  the  services  were  conducted 
by  a  Krankenbezoecker,  or  Ziekentrooster,  whose  duties 
were  to  visit  the  sick,  instruct  the  children,  and  in  public 
worship  to  read  a  sermon  selected  by  the  Elders  and  to 
lead  the  singing,  which  consisted  only  of  metrical  psalms 
sung  in  unison,  and,  of  course,  without  instrumental  ac- 
companiment. The  name  of  a  famous  singer  and  Church 
chorister  of  this  period,  Harman  von  Hoboken,  has  been 
preserved  in  history. 

In  1626  the  city  consisted  of  about  thirty  log  houses 
on  the  shore  of  the  East  River,  with  a  horse  mill  and  two 
buildings  belonging  to  the  "  Company  " ;  and  the  religious 
services  were  held,  until  1633,  in  the  loft  above  the  horse 
mill.  In  the  last-named  year,  with  a  new  Director  of  the 
colony,  Wouter  van  Twiller,  came  Dominie  Everardus 
Bogardus,  a  man  of  strong  will,  who  quarreled  with  the 
director,  denouncing  him  from  the  pulpit  as  "  a  child  of 
Satan,"  and  who  afterwards  took  for  his  second  wife 
Anneke  Jans  or  Jansen.  This  good  lady's  name  has  be- 
come celebrated  through  the  persistent  attempts  of  her 
alleged  descendants  upon  the  property  of  Trinity  Church. 

Soon  after  the  arrival  of  Dominie  Bogardus,  and  in 


6  Trinity  Church,  New  York 

consequence  of  his  complaints,  a  small  square  wooden 
Church  was  built  in  Pearl  Street.  This  was  the  first 
Church  building  in  New  York,  and  is  described  as  a 
"  mean  barn  "  in  comparison  with  the  houses  of  worship 
then  existing  in  New  England.  After  eight  years  it  was 
falling  to  pieces,  and  in  1642  a  substantial  stone  Church 
was  built  in  the  fort,  72  feet  long,  52  feet  broad,  and  16 
feet  high. 

A  curious  engraving  of  New  Amsterdam,  as  it  was 
then  called,  in  Stone's  "  History  of  New  York  City," 
shows  this  Church  with  its  twin  gables  and  little  bell  tower, 
in  which  was  placed  the  town  bell,  formerly  in  the  Stadt 
Huys ;  it  appears  there  to  be  more  than  sixteen  feet  high, 
as  it  overtops  the  other  buildings  within  the  fort. 

In  this  building  were  held  the  first  services  of  the 
Church  of  England,  on  the  arrival  of  the  British  forces, 
which  took  possession  of  the  city  and  colony  in  1664. 

The  entire  territory  from  Virginia  to  Newfoundland 
had  been  always  claimed  by  England,  and  covered  by 
grants  to  various  companies,  antedating  those  of  the 
Dutch,  whose  incursions  had  been  met  by  protests  and 
warnings.  The  States-General  of  Holland,  on  being  ap- 
pealed to,  had  at  first  disclaimed  any  idea  of  encroaching 
on  British  territory;  but,  encouraged  by  the  disturbed 
state  of  England,  soon  dropped  their  scruples,  and  took 
control  of  the  settlement  of  New  Netherland.  At  the 
first  convenient  season  the  English  claim  was  enforced, 
and  in  1664  New  Amsterdam  became  New  York.  The 
city  at  this  date  had  a  population  of  1500,  the  greater 
part  being  Dutch,  with  a  small  proportion  of  French 
Protestants  and  a  still  smaller  number  of  English  settlers. 

The  regular  Dutch  services  on  Sunday  were  not  inter- 
fered with,  but  the  English  service  was  held  by  the  chap- 


Choir  and  Music  7 

lain  of  the  garrison  after  the  conclusion  of  the  other.  It 
happened,  at  a  later  period,  that  services  of  four  different 
denominations  were  held  on  Sundays  within  the  fort — in 
the  morning  the  Dutch  Calvinist,  followed  by  the  Church 
of  England  service  at  noon,  and  in  the  afternoon  a  French 
Protestant  service,  while  in  a  room  of  the  governor's 
house  the  Roman  Catholic  service  was  held  for  Governor 
Dongan  and  the  few  others  of  that  communion.  Under 
the  English  rule,  all  forms  of  religion  were  tolerated, 
which  had  not  been  the  case  previously.  There  was,  how- 
ever, much  fear  of  Roman  Catholic  aggression,  and  in 
1700  an  Act  was  passed  by  the  Assembly  for  banishing 
all  Popish  priests.  This  was  never  carried  into  opera- 
tion, and  the  fear  which  prompted  its  enactment  was 
without  sufficient  cause:  the  Roman  Catholic  Governor 
Dongan,  who  was  recalled  in  1689,  was  a  wise  and  just 
ruler,  and  at  the  same  time  popular;  while  his  Protestant 
successor  was  a  most  undesirable  person. 

Ill 

To  return  to  1664  and  the  establishment  of  services 
of  the  Church  of  England.  The  first  service  was  held  on 
the  14th  of  September  in  this  year,  by  the  chaplain  of  the 
British  forces,  in  the  old  Church  of  St.  Nicholas  within 
the  fort,  which  was  from  this  time  called  the  King's 
Chapel;  and  the  services,  Dutch  and  English,  were  con- 
tinued there  for  nearly  thirty  years,  with  the  exception 
of  six  months  in  1673-74,  when  the  Dutch  regained  tem- 
porary possession  of  the  colony.  The  services  were,  of 
course,  perfectly  plain,  without  any  adornments  of  music 
or  ritual,  and  the  worshipers  few  in  number.  A  glance 
at  the  proceedings  is  afforded  by  the  journal  of  two  trav- 


8  Trinity  Church,  New  York 

elers  from  Europe,  belonging  to  a  sect  called  Labadists, 
an  offshoot  from  the  Dutch  Reformed  Church.  These 
gentlemen  arrived  at  New  York  in  September,  1679,  at- 
tended one  of  the  English  services,  and  have  thus  recorded 
their  impressions: 

"October  15,  Sunday. — We  went  at  noon  to-day  to 
hear  the  English  minister,  whose  services  took  place  after 
the  Dutch  Church  was  out.  There  were  not  above 
twenty-five  or  thirty  people  in  the  Church.  The  first 
thing  that  occurred  was  the  reading  of  all  their  prayers 
and  ceremonies  out  of  the  prayer  book,  as  is  done  in  all 
Episcopal  Churches. 

"A  young  man  then  went  into  the  pulpit  and  com- 
menced preaching,  who  thought  he  was  performing 
wonders ;  but  he  had  a  little  book  in  his  hand  out  of  which 
he  read  his  sermon,  which  was  about  a  quarter  of  an  hour 
or  half  an  hour  long.  With  this  the  services  were  con- 
cluded, at  which  we  could  not  be  sufficiently  astonished." 

The  service  was,  doubtless,  a  hurried  and  perfunctory 
performance  by  a  young  man  of  indifferent  mental  and 
spiritual  gifts;  but  the  feature  which  so  astonished  these 
Calvinist  visitors  was  apparently  the  shortness  of  the 
sermon. 

The  Chaplain  at  this  time  was  the  Rev.  Charles 
Wolley,  who  came  over  in  August,  1678,  and  returned 
in  1680.  Mr.  Wolley  published  (London,  1701)  "  A  Two 
Years'  Journal  in  New  York,"  in  which  he  gives  some 
curious  information  on  men  and  things,  and  especially  on 
the  Indians;  he  does  not  allude  to  his  religious  or  pro- 
fessional duties,  only  remarking  that  "  ministers  were 
scarce  and  religions  many."  * 

1  Mr.  Wolley  took  back  to  England  with  him  a  "  Rockoon,"  which  came  to 
an  untimely  end:  "  one  Sunday  in  Prayer  time,  some  Boys  giving  it  nutts,  it  was 
choaked  with  a  shell." 


Choir  and  Music  9 

The  entire  population  of  New  York  was  at  this  time 
about  2,000,  most  of  it  belonging  to  the  Dutch  Church. 
Governor  Andros  writes,  in  1678:  "There  are  Religions 
of  all  sorts,  one  Church  of  England,  several  Presbiterians 
and  Independents,  Quakers  and  Anabaptists  of  severall 
sects,  some  Jews,  but  presbiterians  and  Independts  most 
numerous  and  substantiall." 

Governor  Dongan,  writing  in  1687,  seems  to  get  the 
situation  more  correctly ;  he  says :  "  New  York  has  first 
a  Chaplain  belonging  to  the  Fort,  of  the  Church  of  Eng- 
land; Secondly,  a  Dutch  Calvinist,  thirdly,  a  French  Cal- 
vinist,  fourthly,  a  Dutch  Lutheran — there  bee  not  many 
of  the  Church  of  England;  few  Roman  Catholics;  abun- 
dance of  Quakers  preachers  men  and  Women  especially: 
Singing  Quakers,  Ranting  Quakers;  Sabbatarians;  Anti- 
sabbatarians :  some  Independents;  some  Jews;  in  short  of 
all  sorts  of  opinions  there  are  some,  and  the  most  part 
of  none  at  all  .  .  .  the  most  prevailing  opinion  is  that  of 
the  Dutch  Calvinists." 

The  number  of  English  settlers  was,  however,  increas- 
ing all  the  time,  and  the  interests  of  the  English  Church 
were  much  advanced  by  the  appointment  of  Governor 
Fletcher,  who  arrived  in  1692.  A  strong  supporter  of 
the  Church,  his  desire  was  to  make  it  the  established 
religion  of  the  colony;  but  the  Dutch  element  was  too 
strong  to  be  disregarded,  and  only  a  partial  realization 
of  this  idea  was  possible. 

In  1693  an  Act  of  the  Assembly  was  passed  for  build- 
ing six  Churches — one  in  New  York,  the  others  in  West- 
chester, Suffolk,  and  Richmond  counties;  each  to  be 
settled  with  a  Protestant  minister,  and  all  to  be  built  and 
supported  by  a  general  tax  on  the  inhabitants.  The  New 
York  Church,  built  in  pursuance  of  this  Act,  was  a  small, 


io  Trinity  Church,  New  York 

square  building,  but  more  capacious  than  the  church  in 
the  Fort.  On  the  same  site  as  the  present  Trinity  Church, 
it  overlooked  the  Hudson  River,  which  extended  as  far 
as  the  present  Greenwich  Street,  and  was  on  the  outskirts 
of  the  city;  Wall  Street  having  been  laid  out  only  five 
years  previously,  and  a  general  cemetery  having  existed 
there  since  1676. 

The  Act  of  Assembly  did  not  specify  what  religious 
denomination  should  possess  or  control  these  churches, 
and  there  was  some  contention  over  the  matter.  The 
Colonial  Assembly,  in  1695,  declared  that  the  Vestrymen 
and  Wardens  had  power  to  call  a  dissenting  minister ;  but 
this  appears  to  have  been  overruled  by  Governor  Fletcher 
on  the  ground  that  no  communion  except  the  English 
Church  recognized  Churchwardens  and  Vestrymen;  and 
these  officials  were  specially  named  and  intrusted  with 
certain  powers  by  the  Act. 

Finally,  in  1697,  a  charter  was  granted,  and  the  con- 
trol of  the  new  Church,  under  the  title  of  Trinity  Church, 
placed  in  the  hands  of  Wardens  and  Vestrymen  therein 
named,  who  at  once  proceeded  to  elect  a  Rector.  The 
property  was  designated  as  "  a  certain  Church  and  steeple, 
lately  built  in  the  City  of  New  York,  together  with  a  cer- 
tain piece  or  parcel  of  ground  adjoining  thereunto,  being 
in  or  near  to  a  street  without  the  north  gate  of  the  said 
city,  commonly  called  and  known  by  the  name  of  Broad- 
way." 

It  is  stated  that  the  church  was  built  by  the  efforts  of 
the  English  inhabitants,  represented  by  certain  persons 
called  Managers  of  the  Church  of  England.  (Wilson: 
Centennial  History.)  This  seems  improbable,  as  "the 
English  inhabitants  were  few  in  number,  and  scanty  in 
means"  (Berrian);  but  it  is  certain  that  so  soon  as  the 


Choir  and  Music  i  i 

unfinished  building  was  placed  in  the  control  of  the  Church 
of  England  active  measures  were  taken  by  them  to  raise 
money  for  its  completion  and  adornment. 

The  Act  above  mentioned  authorized  a  tax  to  be  laid 
on  all  the  inhabitants  in  the  Parish,  which  comprised  the 
entire  city,  for  the  purpose  of  completing  the  Church  and 
steeple,  providing  a  clock,  bells,  etc.  This  was  supple- 
mented by  private  subscriptions,  which,  though  not  large, 
helped  on  the  good  work.  Some  years  elapsed  before  the 
church  was  finished,  and  then  it  was,  externally,  a  very 
plain,  unpretentious  building,  remarkable  only  for  its  lofty 
steeple.  As  years  went  on  additions  were  made,  especially 
in  1735  and  1737,  when  the  building  was  considerably 
enlarged. 

Full  descriptions  and  pictures  of  the  church  at  the 
last-named  date  are  in  existence,  and  show  a  building  of 
good  proportions,  with  a  semicircular  chancel  at  the  east 
(Broadway)  end,  and  tower  and  spire  at  the  west  end. 
These  features  gave  it  something  of  an  ecclesiastical  look ; 
in  other  respects  the  architectural  merits  were  small.  Of 
the  interior  an  early  historian  says :  "  The  Church  is  with- 
in ornamented  beyond  any  other  place  of  public  worship 
among  us.  The  head  of  the  chancel  is  adorned  with  an 
altar-piece,  and  opposite  to  it,  at  the  other  end  of  the 
building,  is  the  organ.  The  tops  of  the  pillars  which 
support  the  galleries  are  decked  with  the  gilt  busts  of 
angels,  winged.  From  the  ceiling  are  suspended  two 
glass  branches,  and  on  the  walls  hang  the  arms  of  some 
of  its  principal  benefactors." 

There  were  galleries  on  the  north  and  south  sides,  and 
two  at  the  west  end — one  for  the  organ,  and  another  above 
it.  The  pulpit,  presumably  a  "  three-decker,"  and  at  first 
standing  in  old-fashioned  style  in  front  of  the  altar,  was 


12  Trinity  Church,  New  York 

in  1737  moved  and  "  placed  on  the  side  of  the  north  wall," 
a  change  which  caused  much  dissatisfaction  and  trouble 
with  the  pew  holders.  There  were  three  glass  "  branches," 
the  two  above  mentioned,  given  by  private  individuals,  and 
a  larger  one  in  the  middle,  imported  from  London  at  the 
cost  of  the  Parish.  The  altar  cloth,  communion  plate, 
and  fittings  of  the  reading  desk,  etc.,  were  handsome  and 
costly,  mostly  gifts  from  the  Crown  or  from  private 
individuals. 

The  dimensions  of  the  Church  were  as  follows :  length, 
148  feet;  width,  72  feet;  height  of  steeple,  175  feet. 

In  1741  the  old  Church  of  St.  Nicholas  in  the  Fort  was 
burned  down,  and  in  1776  the  same  fate  befell  Trinity 
Church.  In  computing  the  loss  to  the  Corporation  by  this 
fire,  the  value  of  Trinity  Church,  with  the  organ,  was  put 
at  £17,500.  Fortunately,  the  Chapels  of  St.  George,  in 
Beekman  Street,  and  of  St.  Paul,  already  built  by  the 
Parish,  were  uninjured,  and  were  used  by  the  congrega- 
tion until  the  second  Trinity  Church  was  built. 


IV 
1698-1753 

The  first  service  in  Trinity  Church  was  held  on  Sun- 
day, March  13,  1698.  As  we  have  no  account  of  the 
proceedings,  the  imagination  must  be  drawn  upon  for  a 
faint  picture  of  the  scene. 

The  "  small  square  building,"  with  no  structural  chan- 
cel, was  in  an  unfinished  condition,  perfectly  plain  and 
unadorned,  with  no  galleries  or  organ  or  pews.  If  there 
were  doors  or  windows  or  floor,  they  were  of  a  temporary 


Choir  and  Music  13 

nature;  the  altar,  or  communion  table,  was  put  in  several 
months  afterwards.  But  the  pulpit  was  there,  a  "  three- 
decker,"  of  course,  the  lowest  compartment  occupied  by 
the  "  Clark,"  Mr.  Huddleston,  the  middle  by  the  Minister 
who  read  the  service,  and  the  upper  one  by  the  Preacher. 
There  were  at  this  time  two  resident  Episcopal  Ministers, 
the  Rev.  Mr.  Vesey,  the  Rector,  and  the  Chaplain  of  the 
Forces;  both  were  doubtless  present  and  taking  part  in 
the  service.  We  may  take  for  granted  that  at  least  one 
of  them  wore  a  surplice,  but  that  the  Preacher,  if  there 
was  a  sermon,  wore  the  black  gown  only.  It  is  not  prob- 
able that  there  was  any  celebration  of  Holy  Communion. 
The  church  was  doubtless  filled  with  a  congregation  which 
included  the  Governor  of  the  colony  with  his  staff,  all  of 
the  English  residents,  and  a  few  of  the  Dutch. 

The  music,  if  there  was  any,  at  the  first  service  in 
Trinity  Church,  must  have  been  limited  to  one  or  two  met- 
rical Psalms  from  the  Old  Version  of  Sternhold  and  Hop- 
kins— possibly  the  Old  Hundredth  and  the  84th  Psalm, 
"  How  pleasant  is  thy  dwelling  place,"  to  the  tune  "  Win- 
chester." These  would  be  sung  mostly  in  unison  or 
octaves,  though  there  would  be  some  not  content  without 
adding  a  "  second,"  and  perhaps  a  few  men  who  knew 
enough  to  sing  the  proper  bass,  or  something  like  it.  One 
can  hardly  imagine  such  an  interesting  occasion  without 
the  congregation  making  some  attempt  to  lift  up  its  voice 
in  song,  in  spite  of  all  difficulties.  In  the  present  day,  if 
a  small  Church  were  to  be  opened  in  some  remote  and 
thinly  settled  part  of  the  country,  where  no  musical  instru- 
ment was  obtainable,  the  congregation,  if  it  could  do  noth- 
ing else,  would  surely  sing  the  "  Gloria  in  Excelsis  "  to 
the  "  Old  Chant."  But  two  hundred  years  ago  the  "  Old 
Chant  "  was  not  in  existence,  and  it  was  not  the  English 


14  Trinity  Church,  New  York 

custom  to  sing  the  "  Gloria  in  Excelsis."  On  this  occa- 
sion we  may  be  sure  that  it  was  not  sung,  and  probably 
not  even  read. 

Before  the  introduction  of  choirs  in  Parish  Churches 
it  was  the  duty  of  the  Clerk  to  make  the  responses  and 
to  lead  whatever  singing  there  might  be,  although  the 
latter  duty  was  most  often  executed  by  a  deputy.  On  the 
organization  of  Trinity  Church,  Mr.  William  Huddleston 
was  duly  appointed  "  Clark,"  and  "  for  his  encourage- 
ment "  was  to  receive  a  salary  of  twenty  pounds  a  year, 
New  York  currency.  Mr.  Huddleston  had  officiated  in 
this  capacity  for  some  years  previously  at  the  English 
services,  whether  held  at  the  chapel  in  the  Fort  or  at  the 
new  Dutch  church;  now,  after  serving  only  one  month  in 
the  new  church,  he  returned  to  England,  but  was  sent  out 
again  in  1 710  by  the  Society  for  the  Propagation  of  the 
Gospel,  as  schoolmaster,  resuming  then  his  old  duties  as 
Clerk.  For  several  generations  the  two  offices  were  held 
by  one  individual,  who  was  usually  a  member  of  the  Ves- 
try and  a  person  of  consideration. 

At  the  first  service,  then,  the  prayers  were  read  and 
sermon  delivered,  presumably  by  the  Rector,  Rev.  William 
Vesey,  assisted  by  the  Chaplain  of  the  garrison;  the  re- 
sponses and  amens  said  by  Mr.  Huddleston,  the  Parish 
Clerk,  who  also  led  the  singing  of  the  metrical  Psalms, 
either  personally  or  by  a  deputy. 

In  1707  we  find  the  first  existing  reference  to  the 
musical  part  of  the  service.  On  August  21st  of  that  year 
an  order  was  made  by  the  Vestry  that  the  New  Version 
of  metrical  Psalms,  by  Tate  and  Brady,  should  be  intro- 
duced at  Trinity  Church  "  the  next  Sunday  come  seven- 
night,  and  that  no  other  psalms  be  sung  in  ye  said 
Church." 


Choir  and  Music  15 

The  New  Version  was  first  issued  in  England  in  1696; 
other  editions  followed,  with  corrections  and  additions. 
Like  its  predecessor,  it  was  bound  up  with  the  Prayer 
Book  and  authorized  to  be  used  in  Churches.  It  is  well  to 
remember  that  Trinity  Parish,  with  the  others  established 
at  this  time,  was  a  part  of  the  Church  of  England  and 
under  the  jurisdiction  of  the  Bishop  of  London ;  therefore 
all  ordinances  affecting  the  English  Church  were  in  force 
here.  Moreover,  all  Prayer  Books  had  to  be  imported 
until  1 7 10,  when  Bradford,  the  New  York  printer,  began 
to  issue  a  reprint. 

With  regard  to  the  tunes  used,  the  best  English  book 
of  tunes  so  far  published  was  that  by  Ravenscroft  in  1621. 
In  this  the  tunes  were  in  four  parts,  with  the  melody  in 
the  tenor.  This  had  been  largely  superseded  by  Play- 
ford's  "  Whole  Book  of  Psalms,"  with  tunes  in  three  parts 
and  melodies  in  the  treble  (1677).  A  copy  of  the  latter 
would  probably  have  been  in  the  hands  of  the  leader  of 
the  singing  at  Trinity  Church. 

An  incidental  mention  of  this  official  appears  in  the 
minutes  of  the  Vestry  in  1733,  in  connection  with  the 
appointment  of  a  new  Parish  Clerk,  and  in  the  following 
words :  "  Mr.  Man,  who  officiated  in  setting  and  singing 
the  Psalms,  having  declared  his  willingness  to  continue 
the  same  under  Mr.  Noxon,  upon  his  being  paid  half  the 
salary  allowed  Mr.  Noxon,  according  to  their  agreement. 
...  It  was  ordered,  the  Church  Wardens  should  pay  .  .  . 
unto  the  said  Mr.  Man,  three  Pounds  for  half  a  Year's 
service  under  Mr.  Noxon,  at  the  request  of  the  Church 
Wardens." 

This  shows  that  Mr.  Man  was  an  acknowledged  offi- 
cial of  the  Parish  from  this  date,  if  not  before,  and  was 
paid  for  his  services.     Six  pounds  a  year,  in  New  York 


1 6  Trinity  Church,  New  York 

currency,  was  not  a  large  salary,  but  the  pecuniary  re- 
sources of  the  Parish  were  limited,  and  all  salaries  were 
small.  In  October  of  the  same  year  "  Mr.  John  Man 
Junr  "  was  appointed  Clerk,  without  doubt  the  same  per- 
son, and  with  the  promotion  his  salary  was  doubled.  Mr. 
Man  has  the  distinction  of  being  the  first  known  Director 
of  music  at  Trinity  Church;  his  duties  in  that  capacity 
consisted  in  selecting  the  tunes  for  the  metrical  Psalms 
appointed  by  the  Rector  and  leading  the  singing  of  them. 
Only  a  small  number  of  tunes  were  in  use;  in  the  Old 
Version  nearly  all  of  the  Psalms  were  in  common  meter, 
in  fact  all  but  about  twenty.  In  the  New  Version  there 
was  more  variety  of  meter,  but  still  two  thirds  were  C.  M. 
Few  tunes  were  therefore  needed:  York,  Windsor,  Win- 
chester, St.  David  would  be  in  use,  and  others  added  as 
time  went  on. 

The  congregation  of  Trinity  Church  was  now  out- 
growing the  capacity  of  the  "  small  square  building,"  and 
in  17 18  the  question  of  enlarging  came  before  the  Vestry. 
Nothing  was  done  until  two  years  later;  but  in  1720  or 
1721  the  church  was  "enlarged  as  far  as  the  street"; 
that  is,  at  the  east  or  Broadway  end,  where  it  now  termi- 
nated in  a  small  apsidal  chancel. 

In  the  succeeding  years  further  enlargements  were 
made  on  the  north  and  south  sides,  and  additional  gal- 
leries erected.  The  alterations  were  completed  in  1737, 
at  which  time,  according  to  Dr.  Berrian,  the  church  would 
accommodate  no  less  than  two  thousand  persons. 

The  next  step  was  the  procuring  of  an  organ,  and  in 
August,  1738,  it  was  voted  by  the  Vestry  that  a  "  sub- 
scription paper  for  an  organ  for  the  Church  be  prepared." 
The  following  year  Mr.  John  Clemm,  of  Philadelphia,  was 
engaged  to  build  an  organ,  which  was  completed  in  1741. 


Choir  and  Music  17 

The  cost  was  said  to  have  been  £520,  besides  a  gratuity 
of  £40  to  the  builder.  It  was  quite  a  large  one  for  the 
time,  having  three  manuals  and  twenty-six  stops  or  regis- 
ters. Forty  years  had  passed  since  the  church  was  built, 
and  during  all  this  time  the  congregation  had  sung  their 
metrical  Psalms  without  any  instrumental  support;  one 
can  imagine,  therefore,  what  a  delight  the  new  organ 
would  be  and  what  an  impetus  it  gave  to  the  singing. 

The  decision  to  procure  an  organ  naturally  led  to  the 
idea  of  utilizing  the  children  of  the  Charity  School  to  lead 
the  singing  of  the  metrical  Psalms,  the  only  music  as  yet 
introduced  in  the  services.  The  first  step  in  this  direction 
was  taken  in  April,  1739,  when  the  Vestry  appointed  a 

committee  "  to  treat  and  agree  with to  sing  in 

the  church  and  teaching  such  Youth  to  sing  as  shall  be 
recommended  to  him  by  the  said  Committee.  The  cost  not 
to  exceed  twenty  pounds."  This  occurred  while  negotia- 
tions for  the  organ  were  going  on,  but  before  work  was 
actually  begun  on  it. 

The  parish  school  was  established  in  1709  for  boys 
and  girls,  apparently  of  the  poorer  classes,  as  some  of 
them,  if  not  all,  were  clothed  as  well  as  educated  by  the 
Parish.  The  example  of  many  English  churches  would 
have  suggested  their  employment  to  lead  the  singing;  but 
it  is  not  likely  that  they  were  taught  or  encouraged  to  sing 
before  the  introduction  of  an  organ.  The  raw  voices  of 
fifty  children  singing  the  tunes  without  any  instrumental 
support  would  have  a  very  disagreeable  effect ;  the  strong 
voice  of  a  single  adult  would  be  far  preferable.  With  an 
organ  to  back  them,  it  would  be  quite  a  different  affair. 
It  is  certain  that  from  this  time  the  children  were  regu- 
larly taught,  and  took  a  prominent  part  in  the  music  of 
the  services.     There  would  be  no  difficulty  in  teaching 


1 8  Trinity  Church,  New  York 

them  to  sing  a  few  Psalm  tunes  by  rote,  or  even  the 
chorus  of  a  simple  anthem  of  the  kind  which  was,  a  little 
later,  sometimes  used. 

The  advertisement  of  a  sermon  for  the  benefit  of  the 
school  in  1777  states  that  "  the  children  of  the  School  are 
instructed  in  the  principles  of  the  Christian  religion  and 
in  Psalmody.  They  constantly  attend  divine  service  at 
Church  on  Week-days  as  well  as  Sundays."  It  may  be 
added  that  there  is  no  further  mention  of  any  adult  leader 
of  the  singing,  apart  from  the  organist,  and  that  the 
practice  of  so  employing  the  children  of  charity  schools 
was  common  in  England  up  to  1850  or  later.  Moreover 
there  are  numerous  notices  extant,  in  the  public  journals 
of  the  time,  of  the  singing  of  the  children,  one  or  two  of 
which  may  be  quoted: 

1754,  October  28. — A  sermon  was  preached  in  Trinity 
Church  by  Dr.  Barclay,  for  the  benefit  of  the  Charity 
School.  Fifty-six  scholars  were  present,  who,  after  the 
sermon,  sang  a  Hymn  suitable  to  the  occasion. 

1764,  August. — At  the  Funeral  of  Revd  H.  Barclay, 
the  charity  scholars  sang  a  psalm  in  procession,  preced- 
ing the  clergy  and  inhabitants. 

1764,  December  3. — Announcement  of  charity  ser- 
mons at  Trinity  and  St.  George's.  A  proper  hymn  to  be 
sung  at  Trinity  Church,  and  an  Anthem  at  the  chapel, 
"  to  be  join'd  in  the  Chorus's  by  the  Charity  Scholars." 

Many  similar  notices  exist;  but  the  mention  of  a  pro- 
cessional, in  the  second  quoted  above,  should  be  noted.  A 
Mr.  Eldridge  seems  to  have  been  the  first  music  teacher 
of  the  children,  for  we  find  that,  in  March,  1741,  the 
Churchwardens  were  empowered  to  pay  him  "  five  pounds 


Choir  and  Music  19 

for  his  care  and  pains  in  having  the  children  taught  to 
sing  Psalms." 

On  July  27th  of  this  year,  the  organ  being  now  com- 
pleted, Mr.  John  Clemm,  Jr.  was  appointed  organist  for 
one  year  to  come;  he  was  probably  the  son  of  the  organ 
builder,  and  was  the  first  organist  of  Trinity  Church, 
serving  for  three  years. 

Mr.  Clemm  was  apparently  not  quite  satisfactory,  for 
in  December,  1743,  Col.  Moore  is  requested  by  the  Vestry 
to  write  to  his  brother,  Dr.  Moore  of  London,  "  to  pro- 
cure for  the  Church  a  Good  Sober  Organist;  but  not  to 
exceed  forty  pounds  Sterling  per  annum,  nor  to  agree 
for  a  longer  term  than  three  years:  but  that  the  Church 
will  pay  his  Passage  over  and  pay  five  Guineas  for  fur- 
nishing him  with  Necessarys  for  his  passage." 

Mr.  John  Rice  was  the  organist  selected  in  London, 
and  in  November  of  the  following  year  orders  are  given 
for  paying  five  guineas  advanced  to  him,  twenty  pounds 
current  money  for  his  passage  from  England,  and  any 
additional  money  necessary  to  be  advanced  to  him. 

I  can  find  no  notice  of  Mr.  Rice's  success,  or  other- 
wise, in  the  performance  of  his  duties;  but  he  appears  to 
have  held  the  appointment  of  organist  for  seventeen  years. 


V 
I753~I762 

The  first  man  who  really  made  his  mark  on  the  music 
of  the  Parish  was  William  Tuckey,  who  came  to  this 
country  in  1752.  Tuckey  had  been  a  lay  clerk  in  Bristol 
Cathedral,  and  was  an  energetic  and  ambitious  man,  with 


20  Trinity  Church,  New  York 

a  good  knowledge  of  music  and  the  details  of  the  Church 
service.  His  knowledge  and  experience  enabled  him  to 
distinguish  himself  in  many  musical  enterprises  here,  all 
of  which  tended  to  the  improvement  and  development  of 
church  music. 

He  advertised  himself  as  "  Professor  of  the  Theory 
and  Practice  of  Vocal  Music,  late  Vicar  choral  of  the 
Cathedral  Church  of  Bristol,  and  Clerk  of  the  Parish  of 
St.  Mary  Port  in  said  City,  now  Resident  in  New  York," 
and  issued,  in  1771,  Proposals  for  publishing  by  subscrip- 
tion Two  Select  Pieces  of  Church  Music: 

1.  AN  HYMN  (by  way  of  an  Anthem)  consisting 
of  Solos,  Duets,  one  Trio,  and  4  Chorusses ;  together  with 
a  Psalm  Tune  adapted  for  any  charitable  Church  Collec- 
tion, and  first  design'd  for  the  Benefit  of  the  Free  School 
belonging  to  Trinity  Church,  in  New  York,  to  be  per- 
formed in  the  Churches  at  the  annual  Collection.  .  .  . 

2.  A  Performance  adapted  for  a  Funeral,  consist- 
ing of  three  Dirges,  (or  Chorusses)  the  Words,  Part  of 
the  Burial  Service:  Together  with  an  Anthem,  and  a 
Psalm  Tune  suitable  on  the  Solemnity  of  a  Funeral  or 
Interment  of  any  person  of  Note,  &c.  The  whole  never 
yet  perform'd,  being  very  lately  set  to  Music,  by  William 
Tuckey,  &c.  &c.  The  Subscriber  to  pay  Two  Shillings 
at  the  Time  of  subscribing,  and  Two  Shillings  more  on 
the  Delivery  of  the  Work  (New  York  Currency). 

Two  years  later,  in  a  very  long  advertisement,  he 
announces  as  ready  for  engraving,  and  to  be  published 
by  subscription,  "  a  compleat  Sett  of  church  service," 
viz.,  a  Te  Deum,  Jubilate,  Benedicite,  Cantate,  and  Deus 
misereatur;  a  burial  service,  and  an  anthem  for  any 
grand  funeral,  with  three  other  pieces  which  he  describes. 
Price  to  subscribers,  one  dollar  and  a  half.     In  this  case 


Choir  and  Music  21 

he  does  not  state  whether  the  music  is  of  his  own  com- 
position, and  it  may  have  been  selected  from  some  of  the 
cathedral  music  with  which  he  was  familiar. 

Tuckey  directed  the  music  at  the  dedication  of  St. 
Paul's  Chapel  in  November,  1766,  on  which  occasion  a 
band  was  employed  at  the  special  request  of  the  Governor. 
A  newspaper  account  describes  the  procession,  which  was 
headed  by  the  charity  children,  and  adds :  "  A  suitable 
band  of  music,  vocal  and  instrumental,  was  introduced. 
Several  pieces  of  Church  music  and  Psalms  were  sung 
and  played  by  them  in  concert,  at  the  usual  intervals." 

Immediately  upon  Tuckey's  arrival  in  this  country  he 
was  appointed  Parish  Clerk  jointly  with  Mr.  Eldridge; 
it  seems,  indeed,  probable  that  he  came  over  engaged  by 
the  Parish,  as  the  Vestry  ordered  payment  of  Thirteen 
Pounds  Sterling  for  the  passage  of  his  wife  and  children 
who  followed  him.  He  was  to  officiate  on  alternate  Sun- 
days at  Trinity  Church  and  St.  George's  Chapel,  then 
lately  built,  at  an  annual  salary  of  twenty-five  pounds, 
without  perquisites,  which  were  to  go  wholly  to  Mr.  El- 
dridge. His  appointment  dated  from  January  1,  1753; 
and  six  weeks  later  it  is  ordered  that  Mr.  Tuckey  have  the 
use  of  the  Charity  School  Room  and  also  of  the  Vestry 
Room  two  nights  of  the  week  for  the  teaching  of  his 
singing  scholars. 

He  continued  to  officiate  as  Parish  Clerk  for  nearly 
four  years,  but  then  became  remiss  in  performance  of  his 
duties,  and  in  November,  1756,  was  notified  by  the  Vestry 
that  they  had  no  further  service  for  him.  It  may  be  sup- 
posed that  more  profitable  musical  work  made  him  indif- 
ferent to  his  duties.  His  connection  with  the  music  of 
Trinity  Church  continued  for  many  years,  notwithstand- 
ing his  discharge  from  the  clerkship.    As  will  be  seen,  he 


22  Trinity  Church,  New  York 

took  part  in  special  services,  composed  music  for  the 
Church,  and  directed  the  performance  of  it. 

The  next  notice  of  Tuckey,  in  connection  with  Trinity 
Church,  appears  in  a  newspaper  paragraph,  as  follows: 

January  15,  ij6i. — On  Sunday  last,  the  principal  in- 
habitants of  this  city  entered  into  mourning  for  the  death 
of  our  late  Most  Gracious  Sovereign.  The  churches  were 
hung  in  mourning,  and  sermons  preached  in  each,  suit- 
able to  the  occasion.  At  Trinity  Church  was  performed 
an  Anthem  on  the  death  of  his  late  Sacred  Majesty. 

Composed  by  Mr.  Tuckey 

Organ  part  by  Mr.  Harrison 

Solo  part  by  Mr.  Tuckey 

Chorus  by  the  boys  of  the  Charity  School. 

It  may  be  noticed  that  the  word  "  boys  "  is  now  used 
instead  of  "  children,"  as  heretofore;  perhaps  Mr.  Tuckey 
objected  to  girls,  and  excluded  them  from  his  class.  The 
proportion  of  girls  in  the  school  was  small;  in  1757  there 
were  forty  boys  and  only  twelve  girls.  There  is  no  men- 
tion so  far  of  women  taking  part  in  the  singing,  and  the 
boys  must  have  sustained  the  treble,  helped  only  by  the 
organ. 

Mr.  Rice,  the  English  organist  appointed  in  1744,  has 
dropped  out  of  sight,  and  the  organ,  at  this  service,  was 
played  by  Mr.  Thomas  Harison,  who  was  formally  ap- 
pointed organist  of  the  Church  in  the  following  March. 
At  a  Vestry  meeting  in  that  month  it  was  ordered  "  that 
Mr.  Thomas  Harison  should  be  employed  as  the  organist 
for  Trinity  Church,  and  allowed  for  his  services  as  such 
the  sum  of  eighteen  pounds  current  money  of  New  York 
per  quarter,  and  that  his  salary  should  commence  from 
the  first  Sunday  he  should  begin  to  play." 


Choir  and  Music  23 

The  organist's  salary  in  1744  was  forty  pounds  per 
annum;  the  increase  now  to  seventy-two  pounds  is  proof 
of  the  increased  importance  of  the  music  of  Trinity  Church 
in  the  eyes  of  the  Vestry. 

At  the  same  meeting  of  the  Vestry  it  was  resolved 
that  five  hundred  pounds  should  be  allowed  toward  the 
purchase  of  a  new  organ,  private  subscriptions  being  re- 
lied on  to  raise  this  amount  to  seven  hundred  guineas. 
The  new  organ  was  imported  from  England,  and  the 
negotiations  placed  in  the  hands  of  Mr.  Harison,  who 
probably  raised  the  additional  amount  required.  In  the 
following  year  the  Churchwardens  were  directed  to  pay 
him  the  £500  voted  toward  the  purchase;  but  the  organ 
did  not  arrive  until  April,  1764,  though  expected  at  least 
a  year  earlier. 

VI 

1 762- 1 765 

The  inauguration  of  the  new  organ  furnished  the 
energetic  Mr.  Tuckey  with  an  opportunity  which  he  did 
not  neglect.  His  idea  was  to  signalize  the  occasion  by 
performing  the  Te  Deum  to  a  cathedral  service.  The 
opening  lines  of  his  prospectus  infer  that  it  had  never 
been  sung  before  in  any  manner,  and  this  is  quite  prob- 
able; it  was  evidently  considered  a  great  undertaking. 
His  advertisement  ran  as  follows: 

New  York  Gazette,  September  16  and  23,  1/62. 

To  all  Lovers  of  Divine  Harmony 

"  Whereas  it  is  a  custom  in  Protestant  congregations 
in  Europe  on  times  of  rejoicing,  as  well  on  Annual  as 


24  Trinity  Church,  New  York 

particular  days  of  Thanksgiving,  to  sing  the  Te  Deum: 
therefore,  by  particular  desire,  a  subscription  is  opened, 
for  the  Encouragement  of  so  laudable  a  practice  in  this 
city.  Proposals  as  follows.  Every  lady,  gentleman,  &c, 
to  subscribe  whatever  they  please,  for  which  subscription 
money,  William  Tuckey  has  obligated  himself  to  teach  a 
sufficient  number  of  persons,  to  perform  the  Te  Deum, 
either  with,  or  without  an  organ,  or  other  instruments; 
and  that  it  shall  be  as  good  a  piece  of  Music,  as  any  of 
the  common  Te  Deums  sung  in  any  Cathedral  Church 
in  England.  Performers  to  pay  nothing  for  instruction, 
(unless  it  be  their  pleasure,)  but  it  is  expected  that  they 
will  (as  they  are  to  be  inhabitants  of  the  city)  be  kind 
enough  to  join  the  choir  on  any  particular  occasion,  espe- 
cially at  the  opening  of  the  new  organ  which  is  expected 
soon.  Public  subscriptions  are  taken  in  by  Mr.  Gaine, 
Mr.  Weyman  and  the  printer  of  this  paper,  which  moneys 
are  to  be  left  in  the  Person's  Hands  who  receive  it,  until 
there  is  a  Rehearsal  of  the  Piece,  before  the  subscribers, 
of  which  Rehearsal  they  shall  have  notice. 

Mr.  Tuckey 

Desires  all  persons,  from  lads  of  ten  years  old,  &c,  as 
well  as  all  other  persons  of  good  repute,  that  has  good 
Voices,  and  are  willing  to  join  the  Company,  to  be  speedy 
in  their  application,  and  give  in  their  names  to  Mr.  Hild- 
reth,  clerk  of  Trinity  Church,  or  Mr.  Silby,  clerk  of  St. 
George's  Chapel,  as  he  will  begin  immediately  to  instruct 
the  Performers,  and  receive  all  qualify'd,  until  there  are 
50  voices  in  the  Chorus." 

Discussion    of    the    Te    Deum   suggests    the    inquiry 
whether  chanting  was  practiced;  and  to  this  inquiry  no 


Choir  and  Music  25 

positive  answer  can  be  made.  It  is  difficult  to  believe 
that  the  music  of  Trinity  Church,  until  nearly  the  end  of 
the  eighteenth  century,  was  limited  to  metrical  Psalms, 
with  an  occasional  anthem  to  mark  special  occasions,  and 
a  voluntary  on  the  organ.  Of  music  in  the  communion 
service,  celebrated  at  long  intervals,  we  may  be  sure  there 
was  none ;  but  it  is  reasonable  to  suppose  that  the  shorter 
Canticles,  Venite,  Jubilate,  Cantate,  and  Gloria  Patri,  or 
some  of  them,  were  chanted,  if  there  was  any  kind  of  a 
regular  choir,  or  even  with  the  boys  of  the  charity  school. 
There  is,  however,  no  proof  that  it  was  done. 

In  "  Olden-time  Music,"  *  there  is  a  notice  of  the  first 
introduction  of  chanting  in  New  England,  at  old  St. 
Michael's  Church,  in  Marblehead,  Mass.;  this  occurred 
in  1787.  The  Rev.  Thomas  Fitch  Oliver,  Rector,  in  a 
letter  dated  December  24,  1787,  says:  "As  to-morrow 
is  Christmas,  we  intend  to  introduce  chanting  into  our 
Church."  He  writes  afterwards :  "  It  was  done  before  a 
very  crowded  audience  of  Churchmen  and  Dissenters,  and 
to  general  acceptance."  Mr.  Oliver  testifies  later  to  the 
constant  use  of  the  new  practice,  and  "  believes  his  almost 
the  only  Church  on  the  continent  in  which  this  is  done." 

What  was  done  in  Marblehead  could  be  done  in  New 
York,  and  with  less  difficulty;  but  it  would  be  more  satis- 
factory if  one  could  prove  that  it  was  done. 

Mr.  Tuckey's  invitation  "  To  all  lovers  of  Divine  Har- 
mony "  was  issued  in  September,  1762.  The  next  event 
recorded  is  a  special  service,  which  is  thus  described: 

December  2,  1762. — On  Sunday  last,  the  following 
Anthem  was  sung  at  Trinity  Church,  after  the  Charity 
Sermon.  The  organ  by  Dr.  Lee.  The  Chorus  formed  by 
the  Charity  Scholars. 

1  By  Henry  M.  Brooks.     Boston,  1888. 


26  Trinity  Church,  New  York 

Solo  by  Mr.  Leadbetter. 

Psalm  34.  Verse  1.     I  will  give  thanks  unto  the  Lord,  His 
praise  shall  be  ever  in  my  mouth.     O  praise  the  Lord  with  me. 
Verse  and  Chorus. 

And  let  us  magnify  his  name  together. 
Solo  by  Mr.  Tuckey. 

Blessed  is  he  that  considereth  the  poor  and  needy,  &c. 
By  Mr.  Leadbetter. — Recitatio. 

Lo  the  poor  crieth  and  the  Lord  heareth  him. 

Air. 
Yea  and  saveth  him,  out  of  all  his  trouble. 
Solo  by  Mr.  Tuckey. 

He  is  Father  of  the  fatherless,  and  defendeth  the  cause  of 
the  Widow. 

Verse.     Three  voices. 

Blessed  be  the  Lord  God  of  Israel,  from  everlasting  to  ever- 
lasting, world  without  end,  and  let  all  the  people  say,  Amen. 

Chorus. 

Amen.     Hallelujah.    Amen. 

The  whole  was  executed  to  the  entire  satisfaction  of 
a  numerous  audience,  and  a  generous  collection  was  made 
for  the  benefit  of  the  Charity  School  in  this  city. 

Dr.  Lee  played  the  organ  at  this  service,  and  it  is 
uncertain  whether  he  or  Mr.  Harison  was  the  regular 
organist ;  there  were  many  changes  about  this  time.  Who- 
ever may  have  been  organist,  the  salary  was  raised  to 
one  hundred  pounds  currency  by  an  order  of  the  Ves- 
try in  June,  1763,  showing  that  his  services  were  valued 
highly;  yet  ten  months  later  there  was  a  change. 

In  April,  1764,  the  new  organ  arrived  from  England, 
and  a  new  organist  was  appointed,  in  the  pev^on  of  Mr. 
James  Leadbetter  (suggestive  name!),  at  a  yearly  salary 
of  £  100,  "  to  commence  from  the  time  he  shall  be  desired 


Choir  and  Music  27 

to  assist  in  tuning  the  organ."  His  duties  were  to  officiate 
on  Sundays  and  Holy  days  throughout  the  whole  year; 
also  to  "  play  a  piece  on  the  organ  after  the  reading  of 
the  Psalms,"  and  to  tune  the  organ. 

The  playing  of  a  voluntary  after  the  Psalms  was  quite 
a  common  practice  in  England,  though  it  seems  an  incon- 
gruity when  the  Psalms  have  been  read.  The  mention 
of  this  duty  in  the  appointment  of  Mr.  Leadbetter  implies 
that  it  was  a  new  feature  in  the  service,  or  perhaps  that 
there  had  been  some  difficulty  over  the  matter  with  the 
retiring  organist. 

January,  1765,  Mr.  Tuckey  is  heard  from  again,  with 
a  bill  for  music  furnished  to  the  school ;  he  states  that  it 
is  the  first  time  he  has  ever  made  a  charge  of  the  kind, 
and  adds :  "  Was  I  in  such  circumstances  as  to  afford  to 
Do  anything  for  nothing  for  the  Church  or  School  no 
person  would  be  more  ready." 

The  amount  of  the  bill,  which  was  paid  by  the  Vestry, 
was  £12.10,  "for  composing,  teaching  and  procuring  to 
be  performed  two  pieces  of  Church  Music  for  the  two 
Charity  Sermons  " ;  he  begs  the  Vestry  to  "  be  pleased  to 
observe  that  the  bare  writing  at  one  shilling  a  page  Royal 
Quarto  (the  paper  included)  amounts  to  upwards  of  43 
(pages)  besides  hindrance  of  my  own  and  my  two  daugh- 
ters time  every  day  and  evening  for  near  six  months  in 
teaching  and  also  fire  and  candle  &  other  expences."  We 
learn  from  this  that  it  took  six  months  to  get  up  two 
anthems  in  1764.  Two  years  later  a  bill  of  similar  nature, 
amounting  to  ten  pounds,  was  paid  to  Mr.  Tuckey  "  for 
composing  an  anthem  and  assisting  at  the  performance 
of  the  same  by  the  Charity  Scholars."  It  was  the  custom 
to  postpone  these  annual  charity  sermons  for  a  week  if  the 
weather  was  bad;  it  was  so  in  November,  1767,  but  the 


28  Trinity  Church,  New  York 

sermon  was  finally  delivered,  the  anthem  sung,  "  joined  in 
the  Chorusses  by  the  Charity  Scholars,"  and,  as  usual,  a 
"  handsome  collection  "  made  for  the  scholars,  who  num- 
bered then  50  boys  and  25  girls. 


VII 
1765-1776 

Notwithstanding  the  good  salary,  something  went 
wrong  with  the  organist.  Leadbetter  resigned,  and  in 
March,  1765,  John  Rice  was  reappointed,  at  a  salary  of 
one  hundred  pounds  per  annum,  with  an  additional  allow- 
ance of  twenty  pounds  a  year  "  to  see  that  the  organ  was 
kept  in  repair." 

This  liberal  arrangement  did  not  continue  very  long; 
in  1769  it  was  found  that  the  expenses  of  the  Parish  far 
exceeded  its  income,  and  as  a  first  measure  of  retrench- 
ment it  was  resolved  by  the  Vestry  that  the  organist's 
salary  be  discontinued  after  June  1st,  and  that  in  lieu 
thereof  a  subscription  be  raised.  This  was,  of  course,  not 
satisfactory  to  the  organist,  and  was  not  carried  out.  In 
August  the  Vestry  decided  to  offer  the  organist  eighty 
pounds  per  annum  for  playing  the  organ  and  keeping  it 
in  tune.  The  offer  was  communicated  to  Mr.  Rice,  who, 
after  due  consideration,  sent  word  that  the  sum  was  "  in- 
sufficient for  his  support,  and  inadequate  for  the  service  " ; 
consideration  of  the  matter  was  thereupon  deferred. 

Two  years  later,  August,  1771,  the  consideration  of 
Mr.  Rice's  letter  was  taken  up,  and  it  was  decided  that 
the  Church  funds  are  insufficient  to  increase  his  salary. 


Choir  and  Music  29 

Rice  evidently  protested,  for  in  October  it  was  again 
voted  that  his  salary  could  not  be  increased,  and  that  he 
is  expected  to  "  keep  the  organ  in  full  tune  and  play  as 
usual  heretofore,  and  at  such  other  times  as  the  Rector 
shall  require."  Rice  then  urges  that  if  he  is  not  "  allowed 
for  tuning  the  organ,  he  must  only  use  the  Common  Psalm 
tunes."  The  Vestry  was  obdurate,  and  declared  that  they 
would  allow  Mr.  Rice  "  no  more  than  now  and  he  must 
play  as  usual."  Fifteen  months  later  he  succeeded  in 
getting  an  increase  of  salary. 

The  following  year  Rice  was  paid  £18.4  for  compos- 
ing "  musick  for  the  Charity  Collection  " ;  that  is  to  say, 
anthems  or  Psalm  tunes  for  the  annual  services  on  behalf 
of  the  school.  In  this  duty  he  now  appears  to  have  super- 
seded Tuckey,  and  a  regular  allowance  was  made  for  the 
work,  simultaneously  with  the  final  adjustment  of  his 
salary.  "January  13,  1773,  Mr.  Rice's  salary  as  organist 
was  finally  advanced  to  ninety  pounds,  with  ten  pounds 
per  annum  for  setting  to  music  the  Hymns  that  may 
occasionally  be  composed  for  Charity  Scholars  and  in- 
structing them  to  perform  the  same." 

We  must  now  go  back  three  years  to  notice  the  great- 
est achievement  of  Mr.  Tuckey,  to  whom  belongs  the 
honor  and  distinction  of  first  introducing  Handel's  Ora- 
torio of  "  The  Messiah  "  on  this  continent. 

At  a  concert  for  his  benefit,  on  the  9th  of  January, 
1770,  the  Overture  and  sixteen  other  numbers  from  this 
oratorio  were  performed,  and  the  same  selections  were 
given  at  Trinity  Church  on  the  3d  of  October  in  the  same 
year;  the  occasion  being  a  special  service  and  sermon  on 
behalf  of  the  Corporation  for  the  relief  of  the  widows  and 
children  of  clergymen  of  the  Church  of  England  in  Amer- 


30  Trinity  Church,  New  York 

ica.  The  advertisement  of  the  service  concludes  thus: 
"  To  be  performed  on  the  occasion,  several  pieces  of 
Church  Music,  by  the  most  eminent  Composers;  among 
others,  part  of  the  celebrated  Mr.  Handel's  Sacred  Ora- 
torio of  the  Messiah.  Divine  Service  will  begin  at  n 
o'clock  in  the  forenoon." 

The  account  of  this  service  in  the  Journal  states  that 
it  was  attended  by  a  numerous  audience,  consisting  of 
most  of  the  principal  inhabitants,  and  by  about  twenty- 
eight  clergymen  of  the  Church  of  England  of  this  and 
the  neighboring  colonies.  After  noticing  the  sermon,  it 
continues :  "  Several  pieces  of  Church  musick,  before  the 
sermon,  and  after  it  part  of  the  celebrated  Mr.  Handel's 
Oratorio  of  the  Messiah  were  performed  by  a  consider- 
able number  of  male  and  female  voices,  accompanied  with 
the  organ,  very  much  to  the  general  satisfaction  of  the 
audience." 

These  selections  were  again  given  in  Trinity  Church 
in  April,  1772,  and  were  thus  announced: 

"  On  Monday  next  will  be  performed  at  Trinity 
Church,  part  of  Mr.  Handle's  sacred  Oratorio,  called  the 
Messiah,  on  the  Passion,  Crucifixion,  Resurrection  and 
Triumphant  Ascension  of  Jesus  Christ:  by  a  select 
Company.  Divine  Service  will  begin  at  half  an  Hour 
past  ten." 

In  October,  1773,  at  the  anniversary  service  of  the 
above-mentioned  Corporation,  there  was  "  Solemn  Mu- 
sic," but  no  particulars  are  given.  "  During  the  service 
several  Solemn  Pieces  of  Music  were  sung  by  male  and 
female  Voices,  accompanied  by  the  Organ." 

A  copy  of  Tuckey's  concert  bill,  now  very  rare,  is  in 
the  possession  of  Dr.  Gilbert,  by  whose  kindness  it  is  here 
reproduced : 


Choir  and  Music  31 

CONCERT  OF  MUSIC 

will  be  performed  at  Mr.  Burn's 

Tuesday  the  9th  of  January,  1770. 

For  the  benefit  of  Mr.  Tuckey. 

First  Part 
Some  Select  instrumental  Pieces  chosen  by  the  Gentlemen  who 
are  performers,  particularly  a  Concerto  on  the  French  Horn,  by  a 
Gentleman  just  arrived  from  Dublin. 

Second  Part 

A  SACRED   ORATORIO 

on  the  Prophecies  concerning  Christ,  and  his  Coming;  being  an 
extract  from  the  late  Mr.  Handel's  Grand  Oratorio  called  the 
Messiah,  consisting  of  the  Overture,  and  16  other  pieces,  viz.: 
Airs,  Recitatives  and  Chorusses. 

Never  performed  in  America. 

The  words  of  the  Oratorio  will  be  delivered  gratis  (to  the  Ladies 
and  Gentlemen)  who  are  pleased  to  patronize  and  encourage  this 
Concert,  or  may  be  purchased  of  Mr.  Tuckey  and  others  for  six  pence. 

As  it  is  impossible  that  a  Performance  of  this  sort  can  be  carried 

on  without  the  kind  assistance  of  Gentlemen,  who  are  lovers  of 

Music  and  Performers  on  Instruments, — Mr.  Tuckey  will  always 

gratefully  acknowledge  the  Favours  of  the  Gentlemen  who  assist  him. 

tSP"  Tickets  to  be  had  of  Mr.  Tuckey,  at  Eight  Shillings  each. 


VIII 

I 776-1818 

We  have  now  reached  the  period  of  the  Revolution, 
a  time  of  great  trouble  for  the  Episcopal  Church.  The 
three  Churches,  Trinity,  St.  George's,  and  St.  Paul's,  were 
for  a  time  closed,  and  the  troubles  culminated  in  the  de- 
struction by  fire  of  Trinity  Church,  with  its  organ,  the 
charity  school,  and  rectory.    The  music  of  Trinity  Church 


32  Trinity  Church,  New  York 

was  silenced  for  a  long  time;  and  when  services  were 
resumed  in  a  new  building,  conditions  were  changed.  In 
the  meantime  the  congregation  found  refuge  in  the  chap- 
els, their  only  resource  for  eleven  years.  St.  George's 
Chapel  was  used  also  for  five  months  by  the  congregation 
of  the  old  Dutch  Church,  when  their  own  place  of  wor- 
ship was  turned  into  a  hospital;  the  offer  of  its  use  at 
certain  hours  being  graciously  made  by  our  Vestry,  "  im- 
pressed with  a  grateful  remembrance  of  the  former  kind- 
ness of  the  members  of  that  ancient  Church,  in  permitting 
the  use  of  their  church  to  the  members  of  the  Church  of 
England,  when  they  had  no  proper  edifice  of  their  own 
for  that  purpose." 

In  consequence  of  the  unsettled  state  of  affairs,  and 
the  temporary  embarrassment  of  the  Corporation  from 
heavy  losses  caused  by  the  great  fire,  no  step  was  taken 
toward  building  a  new  Church  for  ten  years.  In  1787 
the  matter  was  taken  in  hand,  but  work  was  not  begun 
until  the  following  year;  in  June  and  July,  1788,  adver- 
tisements appeared,  inviting  proposals  for  taking  down 
the  ruins  of  the  old  building  and  digging  a  trench  for  new 
foundations;  then  there  is  a  notice  of  the  laying  of  the 
foundation  stone  by  Bishop  Provoost,  August  21  of  the 
same  year,  and  an  account  of  the  consecration  of  the  new 
Church,  March  25,  1790,  by  the  same  Bishop.  It  was  not 
so  large  as  its  predecessor;  and  the  new  organ,  imported 
from  England,  "  though  of  no  great  power,  was  a  sweet- 
toned  instrument,  and  well  adapted  to  the  size  of  the 
building."     (Berrian.) 

Mr.  John  Rice  was  appointed  organist,  with  a  salary 
of  £50,  which  was  afterwards  raised  to  £75 ;  and  it  was 
made  his  duty  to  attend  on  Sundays,  Prayer  days,  and 
such  other  occasions  as  the  Rector  might  think  proper. 


Choir  and  Music  33 

If  this  is  the  same  John  Rice  who  was  first  appointed  in 
1743,  he  must  have  been  nearly  seventy  years  old,  sup- 
posing him  to  have  been  only  twenty  when  he  came  from 
England;  however  this  may  have  been,  John  Rice  was 
organist  from  1791  to  1795,  when  William  Miiller,  from 
Philadelphia,  was  appointed  to  succeed  him. 

Before  the  end  of  the  century  there  was  in  existence 
a  society  connected  with  Trinity  Church,  called  "  The  So- 
ciety for  Cultivating  Church  Music."  In  1800  a  grant 
of  £30  was  made  to  the  society  by  the  Parish  for  the  hire 
of  a  room  suitable  for  their  rehearsals ;  and  in  1807  there 
appears  a  grant  of  $50  to  Mr.  Peter  Erben,  then  director, 
for  the  rent  of  a  "  Singing  School."  Peter  Erben  was 
appointed,  in  the  last-named  year,  organist  of  St.  George's 
Chapel;  six  years  later  he  was  made  the  first  organist  of 
St.  John's  Chapel,  and  afterwards  was  promoted  to  Trin- 
ity Church;  he  must  therefore  have  been  a  prominent 
musician  at  this  time.  One  of  his  sons  was  Henry  Erben, 
the  organ  builder;  another  was  Michael  K.  Erben,  or- 
ganist at  St.  Paul's  Chapel  from  1855  to  1868. 

William  Miiller  was  succeeded  at  Trinity  Church  by 
Charles  Wilson  in  1804;  the  latter  remained  until  the 
appointment  of  Peter  Erben  in  1820.  I  can  find  out  noth- 
ing as  to  the  achievements  or  merits  of  either  of  these 
gentlemen. 

I  have,  however,  in  my  possession  a  book  of  Church 
music,  which  has  been  much  used,  and  was  formerly  the 
property  of  Peter  Erben.  A  description  of  its  contents, 
in  default  of  more  direct  evidence,  will  serve  to  show  the 
manner  of  performing  a  somewhat  ornate  service  at  the 
time  of  its  publication,  1809,  and  will  probably  represent 
the  "  use  "  of  Trinity  Church  at  that  date.  The  book 
contains  no  anthems,  though  these  had  been  in  occasional 


34  Trinity  Church,  New  York 

use  for  many  years,  and  no  provision  for  choral  service; 
the  latter  had  never  been  attempted,  and  did  not  seem  to 
be  considered  as  a  possible  or  desirable  thing.  It  is  edited 
by  a  clergyman,  and  indorsed  by  the  Bishop  of  the  Dio- 
cese as  "  well  calculated  for  the  purpose  of  improving  our 
people  in  the  knowledge  of  sacred  music  " ;  the  preface 
strongly  advocates  chanting,  to  the  exclusion  generally  of 
all  other  kinds  of  sacred  music,  even  of  metrical  Psalms. 
The  editor  says :  "  Chants  are  the  only  kind  of  music 
which  is  calculated  for  general  use  in  public  worship  " ; 
again,  "  metre  psalm-singing,  by  its  fluctuating  nature, 
and  restless  spirit  of  novelty,  is  an  object  of  attention  to 
the  young,  and  of  neglect  to  the  aged."  Of  the  chants 
provided,  some  are  English,  others  native;  most  of  them 
in  the  florid,  vapid  style  then  in  fashion  in  England  as 
well  as  here,  with  wretched  harmonies,  generally  in  three 
parts.  The  pointing  of  the  words  is  strictly  syllabic,  with 
no  regard  to  accent;  and  the  anthem  pieces  of  the  most 
trivial  character. 

The  work  is  entitled  "  The  Churchman's  Choral  Com- 
panion to  his  Prayer  Book,"  etc.,  by  the  Rev.  William 
Smith,  D.D.,  New  York,  1809.  The  preface  states  that  it 
is  "  designed  to  furnish  the  Protestant  Episcopal  Churches 
in  the  United  States,  with  a  form  of  services  in  prose, 
and  is  so  adapted,  as  to  hold  a  medium  between  the  volu- 
minous and  difficult  service  of  the  Cathedral,  and  that 
which  is  unadorned,  and  merely  parochial,"  and  continues 
with  an  essay  on  chanting.     Then  follow — 

Chants  at  Morning  Prayer. 

Introduction. — "The  Lord   is  in  his  Holy  Temple." 

Anthem  of  20  bars.     (Recit :  and  Andante)      .       .    Coslellow 
Doxology. — One  single  chant,  and  one  anthem  of  22  bars. 


Choir  and  Music  35 

Venite. — Two  single  chants. 

Te  Deum. — Triple  chant  (used  also  as  now        .       .         R.  Taylor 
for  Gloria  in  Excelsis) Edin:  Collec: 

N.  B. — This  is  read  on  Ash  wedens  day,  and  on  Good  Friday; 
sung  one  note  lower  in  Lent,  and  one  note  higher,  on  the  Festivals. 

"Benedicete." — One  irregular  chant. 

N.  B. — The  priest  and  people  may,  in  responses,  read  this 
Canticle  unto  the  versicle,  wherein  the  children  of  men  are  men- 
tioned, and  then  the  Choir,  may  perform  their  part,  when  the 
Priest  shall  have  pronounced  the  words  "O  ye  children  of  men, 
bless  ye  the  Lord." 

Jubilate. — One  double,  and  one  single  chant. 

Benedictus. — One  single  chant. 

Kent's  Favorite  Jubilate  (from  Service  in  C). 

Chants  at  Evening  Prayer. 

Introduction. — The  Lord  is  in  his  holy  Temple.    Anthem 

of  40  bars,  for  alternate  choirs  and  full  chorus.  Barthelemon 
Doxology. — One  single  chant,  and  one  anthem  of  16  bars.  B.  Can 
Cantate. — One  double,  one  single  chant. 
Bonum  est. — One  single  chant. 
Deus  misereatur. — One  single  chant. 
Benedic. — One  single  chant. 

Litany  Chants  and  Anthems. 

"Agnus  Dei"— Anthem— " O  Lamb  of  God"    &c.     14 

bars — with  Solo,  Duet,  and  Chorus   .       .       .       .     B.  Carr 

"Agnus  Dei" — Double  chant. 

Kyrle  Eleison. — 12  bars — duet   &  chorus        .       .       .     B.  Carr 

Surge  Domlne. — Single  chant. 

Doxology. — Anthem,  22  bars,  Chorus   &  Duet.     Double 

chant Webbe 

Communion  Office. 

Kyrie  1. — Short  setting.     Duet  and  Chorus. 

Kyrle  2. — "Proper  for  high  Festivals" — consisting  of  organ 
prelude,  n  bars;  the  response  to  the  first  nine  com- 
mandments 24  bars  in  length,  with  solos  and  chorus. 
Response  to  the  10th,  30  bars  of  the  same  character.  B.  Carr. 


36  Trinity  Church,  New  York 

Gloria  Tibi. — Two  short  settings. 

Trisagion. — 17  bars — Preface,  unison  or  solo,  Sanctus,  chorus. 

Gloria  in  Excelsis. — Old  chant. 


Then  follow  twelve  selections  from  the  Scriptures,  for 
the  various  Festivals  and  Fasts,  similar  to  the  "  anthem  " 
for  Easter  Day,  which  forms  one ;  these  are  set  to  double 
chants.  One  of  them,  apparently  for  general  use,  con- 
sists of  the  Beatitudes,  and  is  headed  thus: 

Benedicentur  Sancti 

instead  of  the  Venite. 

The  chanting  of  the  Psalms  for  the  day  is  not  alluded 
to;  they  are,  in  several  places,  called  the  reading  Psalms. 
Every  canticle  has  the  direction  that  the  Priest  is  to  say 
the  first  half  verse,  and  there  is  no  hint  of  any  music 
for  the  Te  Deum  but  the  "  old  chant." 

The  suggestion  for  reading  the  Benedicite  up  to  the 
last  six  verses,  and  then  starting  in  with  music,  the  Priest 
precenting  a  half  verse,  is  curious;  but  many  observances 
of  that  day  would  seem  curious  to  us  now.  The  same 
idea  appears  in  the  Litany,  which  is  directed  to  be  read 
as  far  as  the  "  Agnus  Dei,"  the  following  part  being  set 
to  varied  music.  This,  as  well  as  the  elongated  responses 
to  the  Commandments,  must  have  been  very  tedious,  if 
they  were  really  performed.  For,  after  all,  it  is  possible 
that  these  odd  things  were  merely  whims  of  the  editor, 
and  were  never  really  inflicted  upon  the  suffering  con- 
gregation. On  the  other  hand,  there  is  the  strong  proba- 
bility that  this  is  just  what  the  congregation  had  to  listen 
to  during  a  third  part  of  this  century.  This  was  the 
darkest  period  of  Church  music  in  England:  the  sacred 


Choir  and  Music  37 

fire  was  almost  extinguished  in  a  flood  of  inanity ;  sloven- 
liness, indifference,  and  bad  taste  prevailed,  even  in  the 

cathedrals. 


IX 

1818-1839 

The  school  was  still  in  existence  just  at  the  back  of 
the  church,  but  we  hear  no  more  of  the  singing  of  the 
children  for  many  years.  The  school  was  moved  up  to 
Varick  Street  in  1832,  but  the  stone  tablet  with  the  in- 
scription, "  Episcopal  Charity  School,  1794,"  was  left,  and 
remains  to  this  day,1  although  the  building  is  now  used 
as  a  stable. 

It  is  as  well,  perhaps,  that  we  know  so  little  of  the 
choir  arrangements  or  music  of  this  period;  there  would 
not  be  much  to  commend.  A  disposition  to  encourage 
congregational  singing  is  shown  by  an  order  of  the  Ves- 
try in  18 18  that  the  Parish  Clerks  of  Trinity  Church  and 
her  chapels  were  to  assist  in  instructing  the  congregation 
in  psalmody.  In  what  way  this  was  to  be  done,  or  how 
competent  the  Parish  Clerks  were  for  such  a  duty,  does 
not  appear. 

In  1820  Peter  Erben  became  organist,  remaining  until 
the  demolition  of  the  church  building  in  1839.  Eighteen 
years  of  his  incumbency  have  left  no  mark  upon  musical 
history;  but  in  1838  we  begin  to  get  glimpses  again,  so 
far  satisfactory  that  there  seems  to  have  been  a  general 
awakening  and  a  decided  movement  made  to  put  the  music 
of  the  Parish  on  a  better  footing.     In  fact,  a  new  era 

1  It  has  lately  been  removed. 


38  Trinity  Church,  New  York 

begins  here,  and  we  shall  from  this  time  be  able  to  fol- 
low the  order  of  events  closely,  and  to  record  an  entirely 
different  condition  of  affairs.  There  had  been  previously 
no  organization  in  the  musical  department  of  the  Parish; 
an  organist  was  appointed  and  paid,  and  that  was  all. 
The  music,  so  far  as  I  can  learn,  depended  on  whatever 
chance  assistance  the  organist  could  secure  by  personal 
influence. 

The  musical  arrangements  of  Trinity  Church  and  the 
two  chapels,  St.  Paul's  and  St.  John's,  are  described  as 
being  at  that  time  very  inferior.  As  an  instance  of  stag- 
nation and  neglect,  it  is  stated  that  Jackson's  Te  Deum 
in  F  had  been  sung  at  Trinity  Church  on  every  Sunday 
for  nearly  twenty  years.  It  was  plain  that  reform  was 
necessary,  and  as  a  first  step  the  Vestry,  in  November, 
1838,  ordered  "  that  a  Chorister  be  appointed,  who,  under 
the  Rector,  shall  have  charge  of  the  vocal  music  in  all  the 
churches,  and  whose  duty  it  shall  be  to  have  the  three 
choirs  frequently  practised,  at  one  time  and  place " ; 
also,  "  that  a  school  of  music  shall  be  established  for  the 
younger  members  of  the  Parish,  where  the  elements  of 
the  art  shall  be  taught,  and  where  the  music  designed  for 
public  worship  shall  be  practised." 

Up  to  this  time  there  had  been  only  an  organist  and 
an  organ  blower;  other  material  for  rendering  the  music 
of  the  service  had  never  been  provided,  but  left  to  chance. 
Now  the  "choir"  is  officially  recognized;  a  general  di- 
rector of  the  music  for  the  whole  Parish  is  provided,  who 
is  to  train  the  three  choirs  together;  and  in  the  following 
month  the  unprecedented  annual  sum  of  $4,500  was  ap- 
propriated for  the  support  of  the  three  choirs. 

Unfortunately  for  the  music  of  the  Parish,  this  ar- 
rangement, excellent  so  far  as  it  goes,  lasted  only  for 


Choir  and  Music  39 

eight  years,  and  even  in  those  eight  years  was  not  carried 
out.  St.  Paul's  seems  to  have  retained  its  independence; 
the  organist  of  that  chapel  in  1838  was  S.  P.  Taylor; 
he  was  succeeded  in  1843  by  Mr.  G.  F.  H.  Hodges, 
and  the  music  was  for  a  time  under  the  influence  of  the 
first  director,  but  the  combined  rehearsals  were  never  in 
operation.  On  the  other  hand,  the  appropriation  for 
choirs,  $1,500  for  each  church,  was  continued  without 
increase  for  thirty  years. 

The  first  appointment  under  the  new  system  brings 
upon  the  scene,  at  the  distance  of  a  century,  the  second 
notable  personage  in  the  history  of  our  music;  curiously 
enough,  a  native  of  the  same  place  as  Tuckey,  whom  we 
have  set  down  as  the  first.  A  short  biographical  notice 
will  introduce  him  before  he  takes  his  place  in  our  history. 

X 

1 839- 1 846 

Edward  Hodges  was  born  at  Bristol,  England,  in 
1796.  Not  at  first  intended  for  the  musical  profession, 
he  developed  at  an  early  age  "  remarkable  inventive  fac- 
ulties, and  some  of  his  projects  have  since  been  adopted 
in  different  branches  of  mechanical  science."  Taking  up 
the  study  of  music,  he  became  organist  of  Clifton  Church, 
and  of  St.  James'  and  St.  Nicholas'  Churches  in  Bristol. 
He  introduced  the  modern  C  compass  for  organs  into 
England ;  as  "  the  organ  in  St.  James'  Church,  Bristol, 
when  remodelled  under  his  direction,  contained  the  first 
CC  manual,  and  CCC  pedal  made  in  England."  {Grove's 
Dictionary.)  For  the  opening  of  this  organ  on  May  2, 
1824,  he  composed  a  Morning  and  Evening  Service  in  C, 


40  Trinity  Church,  New  York 

and  a  setting  of  Psalm  150,  which  were  published  by  sub- 
scription the  following  year,  with  another  anthem.  In 
1825  he  obtained  his  Doctor's  degree  at  the  University 
of  Cambridge,  where  Dr.  J.  Clarke-Whitfeld  was  then 
Professor  of  Music. 

Dr.  Hodges  was  a  candidate  for  the  position  of  or- 
ganist at  St.  George's  Chapel,  Windsor,  for  which  post 
there  were  thirty-two  applicants,  "  of  every  degree  and 
kind."  The  final  contest  lay  between  Dr.  Hodges  and 
Sir  G.  J.  Elvey,  who  were  each  called  upon  to  accompany 
a  service.  The  contest  was  a  very  close  one,  and  was 
decided  in  favor  of  Elvey,  the  younger  man;  the  Dean 
"  saying  he  did  not  fancy  the  broad-brimmed  hat,  white 
neck-tie  and  boots  with  pointed  toes,  suggesting  to  him 
an  individuality  that  might  be  hard  to  control."  (Miss 
Hodges.) 

This  occurred  in  1835 ;  three  years  later  Dr.  Hodges 
was  offered,  and  accepted,  an  engagement  as  organist  of 
the  Cathedral  at  Toronto,  Canada.  Passing  through  New 
York  on  his  way  to  that  place,  his  visit  was  noticed  in  the 
musical  papers  of  the  day :  doubtless  he  looked  in  at  Trin- 
ity Church;  perhaps  heard  what  passed  for  music  there, 
and  made  certain  mental  notes.  On  arriving  at  Toronto 
he  was  so  disappointed  and  discouraged  at  the  aspect  of 
musical  affairs  that  he  threw  up  his  engagement,  remain- 
ing only  two  months  in  Toronto,  and  fled  back  to  New 
York. 

Arrived  in  this  city,  he  at  once  put  himself  in  com- 
munication with  the  authorities  of  our  Parish,  with  the 
result  that,  on  January  15,  1839,  he  was  appointed  "an 
organist  of  Trinity  Parish  "  at  a  salary  of  $300. 

About  this  time  it  was  discovered  that  the  Parish 
Church  was  in  an  unsafe  condition,  and  it  was  decided 


EDWARD    HODGES,    Mus.   Doc.    Cantab. 

Organist  and  Choirmaster, 

1839-1S58. 


Choir  and  Music  41 

by  the  Vestry  to  pull  it  down  and  build  a  new  Church  of 
a  more  massive  and  enduring  character.  The  process  of 
demolition  was  at  once  begun,  and  the  services  of  the  Par- 
ish Church  discontinued  for  seven  years.  The  organist, 
Peter  Erben,  was  retired,  receiving  a  special  gratuity  of 
$300.  Dr.  Hodges  was  assigned  to  duty  at  St.  John's, 
where  he  duly  assumed  charge  of  the  music,  with  the 
understanding  that  when  the  new  Church  was  completed 
he  would  be  transferred  there.  St.  John's  Park  was  then 
a  fashionable  neighborhood,  and  the  Church  was  attended 
by  the  elite  of  the  city.  The  organ  was  in  the  west  gal- 
lery, and  the  choir  was  composed  of  a  double  quartet, 
"  who  were  hidden  from  view  by  curtains  of  purple  vel- 
vet " ;  there  were  no  boys  until  five  years  later.  At  the 
close  of  this  year,  1839,  a  new  organ  was  placed  in  St. 
John's;  it  was  built  by  Firth  and  Hall,  and  originally 
intended  for  the  old  Trinity  Church. 

The  "  Charity  School  "  had  undergone  changes  in  its 
organization,  system,  and  title,  being  now  the  "  New 
York  Protestant  Episcopal  Public  School  " ;  it  had  been 
moved  uptown  to  Varick  Street,  a  little  above  St.  John's 
Chapel,  and  made  exclusively  a  boys'  school. 

In  1843  measures  were  taken  by  the  Vestry  of  Trinity 
Church  to  establish  a  musical  department  in  the  school, 
on  the  following  plan :  The  Vestry  was  to  establish  sixteen 
musical  scholarships,  with  stipends  varying  from  twenty 
to  forty  dollars;  the  exhibitions  to  be  filled  at  the  discre- 
tion of  the  musical  director.  Arrangements  were  made 
for  the  general  education  of  the  selected  scholars,  and 
musical  instruction  was  to  be  given  at  least  two  days  in 
the  week,  at  times  that  would  not  interfere  with  the  regu- 
lar course  of  their  education,  the  arrangements  to  be 
subject  to  approval  by  the  music  committee  of  Trinity 


42  Trinity  Church,  New  York 

Church;  and  it  was  further  "resolved,  that  the  director 
of  the  parish  music  be  the  instructor  of  Church  music  in 
the  said  school." 

This  scheme  was  evidently  intended  to  provide  a  choir 
of  boys  for  Trinity  Church;  the  scholars  would  not  have 
been  paid  a  yearly  stipend  unless  they  were  to  render 
some  service  in  return,  and,  moreover,  Dr.  Hodges'  memo- 
randa distinctly  confirm  this  view. 

It  is  surprising  that  so  little  came  of  the  scheme;  but 
it  is  clear  that  the  ninety  boys  of  the  school  did  not  fur- 
nish sufficient  musical  talent  or  vocal  ability  to  form  an 
independent  choir  of  trebles  for  Church  work.  There 
were  undoubtedly  some  clever  and  capable  boys  among 
them,  but  not  enough.  Dr.  Hodges  says,  under  date  of 
March  15,  1847:  "The  Trinity  school  does  not  furnish 
musical  talent  enough  to  feed  the  class." 

A  year  passed  before  the  machinery  was  set  in  motion, 
but  in  November,  1844,  the  first  examination  and  selec- 
tion of  boys  was  made.  The  result  is  set  forth  in  a  paper 
in  the  doctor's  own  writing,  which  is  thus  headed : 

"  Class  of  Choristers  of  Trinity  Church 
first  organized  November  29th   1844,  when  the  sixteen 
boys  first  named  were  selected  after  a  separate  examina- 
tion of  every  boy  in  Trinity  school,  then  upwards  of  ninety 
in  number." 

Then  follow  the  names  of  twenty-six  boys,  being  all 
who  were  selected  up  to  February,  1847. 

Of  the  first  sixteen,  two  declined  to  join,  and  five  more 
dropped  out  before  the  opening  of  Trinity  Church — leav- 
ing nine  then  on  the  roll,  with  four  elected  to  fill  vacancies ; 
of  these,  only  five  took  part  in  the  consecration  service. 


Choir  and  Music  43 

The  lessons  to  these  boys  were  given  in  the  school- 
room of  St.  John's  Chapel,  which  contained  a  small  organ. 
As  no  provision  had  been  made  for  a  blower,  the  youngest 
boy,  or  rather  the  last  comer,  had  to  blow  the  organ. 
Even  after  Dr.  Hodges  and  the  choir  had  been  trans- 
ferred to  Trinity  Church  the  lessons  were  given  at  the 
same  place.  The  boys  had  two  lessons  a  week,  besides 
attending  the  general  choir  rehearsal  at  Trinity  Church 
on  Thursdays.  They  were  taught  by  the  aid  of  a  black- 
board, printed  music  and  instruction  books  being  scarce 
and  expensive.  Dr.  Hodges  and  his  boys  were  on  the 
best  of  terms,  and  the  lessons  may  even  have  been  enjoy- 
able; there  was  so  little  necessary  to  be  done,  so  few 
things  were  sung,  and  the  boys  having  no  responsibility 
even  for  these,  that  the  lessons  may  well  have  been  easy 
and  agreeable.  There  is  no  doubt,  however,  that  the 
boys  were  carefully  and  thoroughly  taught.  The  one  who 
most  distinguished  himself  later  seems  to  have  been  No. 
13,  Elias  G.  Drake,  who  had  a  beautiful  voice.  On  one 
occasion,  at  a  noted  funeral,  Mrs.  Edward  Loder  was  to 
sing  by  special  request.  When  the  day  came  she  was  ill 
and  could  not  be  present;  whereupon  Dr.  Hodges  sent  for 
Master  Drake,  and  made  him  take  Mrs.  Loder's  place  for 
the  occasion.  The  newspapers  of  the  next  day  commented 
on  the  singing,  and  said  that  Mrs.  Loder  had  added  to 
her  already  great  fame  by  her  singing  at  this  service. 
The  error  was  not  corrected  by  the  doctor,  who  greatly 
enjoyed  the  incident.  No.  26  was  John  F.  Mines,  who 
has  furnished  us  with  many  interesting  reminiscences  of 
the  Parish  and  city,  under  the  name  of  Felix  Oldboy. 
In  one  of  his  articles  in  the  Trinity  Record  he  states  that 
in  his  twelfth  year  he  was  appointed  to  a  scholarship  in 
Trinity  school,  with   an  income  of  fifty  dollars   a  year 


44  Trinity  Church,  New  York 

from  "  the  foundation,"  as  it  was  termed ;  and  that,  later 
on,  he  was  made  a  chorister  in  Trinity  Church. 

The  new  Church  was  in  the  meantime  gradually  ris- 
ing, but  very  slowly;  the  organ  still  more  slowly.  At  the 
beginning  of  the  year  1846  the  former  was  so  far  ad- 
vanced that  the  consecration  was  appointed  for  Ascension 
Day,  May  21st.  The  musical  appointments  were  now 
changed:  Dr.  Hodges  was  appointed  organist  of  Trinity 
Church,  and  of  that  Church  alone,  at  the  salary  of  $500, 
with  $1,500  for  the  choir;  he  received  also  $500  yearly 
for  instructing  the  entire  Trinity  school  in  music,  a  duty 
distinct  from  the  particular  lessons  given  to  the  selected 
"  scholars."  The  choir  which  he  had  trained  at  St.  John's 
went  with  him  to  the  new  Church;  on  the  last  Sunday  at 
St.  John's  it  consisted  of  a  double  quartet,  twelve  or  four- 
teen boys,  and  a  few  volunteers;  for  the  consecration 
service  some  additional  voices  were  engaged.  From  this 
time  the  chapels  were  independent  as  to  their  musical 
organizations,  and  Mr.  Rolfe,  an  Englishman,  was  ap- 
pointed organist  of  St.  John's,  of  which  we  now  take 
leave  and  follow  organist  and  choir  to  the  new  Church. 


XI 

1846 

The  consecration  of  Trinity  Church  was  an  important 
event,  and  the  interest  which  it  excited  was  not  confined 
to  members  of  our  own  communion.  The  Parish  had  now 
been  in  existence  a  century  and  a  half;  any  feeling  of 
animosity,  which  at  one  time  existed  on  account  of  its 


Choir  and  Music  45 

English  origin,  had  disappeared.  The  devotion  of  its 
clergy,  the  high  character  of  its  vestrymen,  and  the  lib- 
eral use  of  its  resources  in  the  promotion  of  religion  and 
learning,  had  earned  for  it  a  high  degree  of  respect  from 
all  fair-minded  persons  of  whatever  denomination.  Disos- 
way,  a  member  of  the  Dutch  Reformed  Church,  says,  in 
his  account  of  "  The  Earliest  Churches  in  New  York  " : 
"  Concerning  '  Old  Trinity,'  volumes  might  be  written. 
The  more  we  examine,  the  more  do  we  reverence  and 
admire  this  ancient  and  munificent  religious  corpora- 
tion." He  states  that  the  consecration  of  the  new  Church 
"  awakened  general  and  unusual  interest."  I  will  quote 
here,  too,  his  impression  of  the  musical  services,  written 
in  1864:  "Old  Trinity  has  always  had  fine  choral  sing- 
ing, and  she  still  maintains  this  reputation.  We  do  not 
admire  the  intoning  of  her  sublime  services,  as  a  mere 
matter  of  taste,  but  her  solemn  chants  and  singing  boys, 
to  our  non-Episcopal  ears,  are  most  impressive  and  re- 
freshing." 

The  general  interest  in  the  consecration  was  increased 
by  the  size  and  character  of  the  building  itself,  which 
inaugurated  for  this  country  a  new  era  in  Church  archi- 
tecture. The  architect  who  introduced  a  distinctively 
Christian  mode,  and  the  musician  who  at  the  same  period 
instituted  a  much-needed  reform  in  Church  music,  are 
alike  entitled  to  honor. 

The  ceremonies  at  the  consecration  were  of  a  most 
impressive  character:  the  music  sung  was  worthy  of  the 
occasion ;  the  choir  of  twenty-six  voices,  men,  women,  and 
boys,  in  the  organ  gallery,  did  their  work  thoroughly 
well.  Some  of  the  best  voices  in  the  city  took  part,  and 
it  was  said  that  the  effect  of  the  music  surpassed  anything 
previously  heard — which  is  rather  faint  praise. 


46  Trinity  Church,  New  York 

But  what  shall  be  said  of  the  organ  builder,  the  only 
person  concerned  who  failed  to  carry  out  his  part  in  the 
proceedings?  The  contract  for  the  organ  was  signed  in 
September,  1843,  and  after  two  and  a  half  years  only 
about  a  third  part  of  the  organ  was  ready,  and  that  not 
the  most  important  part.  The  choir  organ,  less  than  half 
of  the  swell,  and  Dulciana  bass  were  all  that  was  avail- 
able at  this  important  service;  not  a  single  pipe  of  the 
great  organ  and  none  of  the  large  pedal  pipes  could  be 
used.  This  would  be  hardly  credible  if  the  records  were 
not  clear  and  exact  on  the  point. 

The  printed  order  of  proceedings  was  as  follows: 

ORDER  OF  MUSIC 

AT   THE   SERVICES   CONNECTED   WITH 

Che  Consecration  of  Crtnttp  Church,  JReto  port 

ON  THE 

Feast  of  Ascension, — May  21st,  1846 
Voluntary. — during  the  entrance  of  the  Procession. 

|Anthem. — "The  Lord  is  in  his  holy  temple,"   &c. 
Venite,  and  proper  Psalms,  84,  122,  &  132     .       .       .  Chaunted 

fTE  Deum. 

fBENEDICTUS. 

Psalm. — Selection  XXI.     V.   2    &  3.     Tune  .       .       .       Bristol 
IResponses,  at  the  Decalogue. 
IGloria,  at  the  giving  out  of  the  Gospel. 

Psalm  C,  (Selection  LXXIX).    Tune         .       .        Old  Hundredth 
Anthem. — "  Surely  I  have  built  thee  an  house  to  dwell  in,"  &c. 
Voluntary,  on  the  withdrawal  of  non-communicants. 
Trisagion. 

Hymn  XCV.    Tune St.  Ann's 

Gloria  in  Excelsis. 

N.  B. — As  the  Organ  is  in  a  very  imperfect  and  incomplete 
state,  there  will  be  no  concluding  voluntary. 

The  pieces  marked  f  have  been  composed  for  the  occasion  by  Dr.  Hodges. 


Choir  and  Music  47 

The  choir  on  the  occasion  was  thus  composed: 

Trebles.  Altos. 

Mrs.  Loder  Miss  Sinclair 

Mrs.  Bostwick  Mr.  Crabb 

Mrs.  Bourne  Little  J.  Hanford 

Mrs.  Gillelan  Mr.  Fryer 
Miss  Hodges  Basses 

Tenors  Mr.  Massett 

Mr.  H.  Watson  Mr.  Kyle 

Mr.  Loomis  Mr.  Maynard 

Mr.  Gillelan  Mr.  Leach 

Mr.  Demarest  Mr.  G.  Loder 

Mr.  A.  Jones  Mr.  Clark 

Mr.  J.  S.  B.  Hodges  Mr.  Jubal  Hodges 
and  four  "small  boys"  not  named. 

The  proceedings  commenced  by  the  pupils  of  Trinity 
School,  150  in  number,  assembling  at  their  schoolhouse 
and  marching  to  the  Church,  led  by  the  Rev.  Dr.  Morris, 
Rector  of  the  school,  in  Oxford  cap  and  black  silk  gown ; 
on  arrival  they  were  arranged  in  open  lines  the  whole 
length  of  the  nave. 

The  principal  procession  was  formed  at  the  house  of 
Mr.  W.  J.  Bunker,  39  Broadway,  and  consisted  of  sex- 
tons with  staves,  architect  and  assistants,  vestry  of  Trin- 
ity Church,  vestries  of  other  city  Churches,  students  in 
the  Seminary,  trustees  of  Columbia  College,  Standing 
Committee,  deputies  to  General  Convention,  strangers  in- 
vited, clergy  in  surplices,  Doctors  in  Divinity  in  surplices, 
the  acting  Bishop.  On  reaching  the  entrance  the  pro- 
cession divided,  allowing  the  Bishop  to  lead;  he  was  fol- 
lowed by  the  Rev.  the  Rector,  assistant  ministers,  and 
clergy  generally,  the  laity  bringing  up  the  rear.  The 
voluntary  was  probably  played  at  the  conclusion  of  the 


-j-y-w- ..=* "imnMMfcrii ■~waiirM ->-■->-! i ri  j  i. m ~t  in  1  ~  nm n  i 


48  Trinity  Church,  New  York 

24th  Psalm,  while  clergy  and  laymen  were  settling  in 
their  places.  The  service  of  consecration  was  proceeded 
with  in  the  usual  manner,  after  which  Morning  Prayer 
was  begun  by  the  singing  of  the  opening  sentence,  "  The 
Lord  is  in  His  holy  temple."  The  service  was  not  choral, 
but  the  Venite  and  proper  Psalms  were  "  chaunted  "  an- 
tiphonally,  the  former  to  Jones'  double  chant  in  C,  which 
the  Doctor  had  arranged  in  eight-part  harmony,  with  an 
independent  organ  accompaniment.  I  may  say  here  that 
Dr.  Hodges  used  double  chants  exclusively;  he  preferred 
them,  as  presenting  a  real  musical  theme,  and  often  a 
special  antiphonal  effect. 

The  new  Te  Deum  and  Benedictus,  known  since  as 
'  The  Consecration  Service,"  were  admirably  fitted  for 
such  an  occasion,  stately  and  dignified,  but  were  beyond 
the  comprehension  of  the  general  congregation,  who  had 
never  heard  a  Te  Deum  of  such  large  and  elaborate 
design.  Boyce's  fine  anthem,  "  I  have  surely  built  thee 
an  house,"  was  sung  after  the  sermon,  perhaps  at  the 
Offertorv,  and  the  Sanctus  and  Gloria  in  Excelsis  were 
also  compositions  of  Dr.  Hodges,  though  not  new.  The 
service  was  divided  out  among  a  number  of  the  clergy, 
according  to  the  prevailing  custom,  one  being  specially 
detailed  to  announce  the  metrical  Psalms.  A  soft  vol- 
untary was  played  during  the  consumption  of  the  ele- 
ments, but  the  procession  passed  out  to  the  music  only  of 
the  bells,  which  were  pealed  for  an  hour.  Over  two 
hundred  clergymen  were  said  to  have  been  present  at  this 
service,  which  occupied  five  hours. 

Full  accounts  of  the  proceedings  appeared  in  the  news- 
papers, and  I  quote  from  one  of  them  such  passages  as 
refer  to  the  music.  After  briefly  describing  the  general 
features  of  the  service,  the  article  continues  thus :  "  The 


Choir  and  Music  49 

music  was  every  way  worthy  of  the  finest  church  in  the 
country.  The  greater  portion  of  it  was  the  composition 
of  the  excellent  organist  and  musical  director  of  Trinity 
Church,  Dr.  Hodges.  As  the  congregation  were  gather- 
ing, he  played  a  solemn  voluntary  with  great  taste  and 
execution.  .  .  .  The  anthem,  '  The  Lord  is  in  his  holy 
temple,'  formed  an  admirable  introduction  to  the  first 
service  in  the  newly  consecrated  Church.  .  .  .  The  Te 
Deum  and  Benedictus  were  composed  for  the  occasion, 
and  were  truly  beautiful  in  conception,  and  quite  credit- 
able in  performance.  So  were  the  Responses  at  the  Deca- 
logue. .  .  .  The  Trisagion  and  the  Gloria  in  Excelsis 
were  the  compositions  of  the  same  hand,  and  were  sung 
with  great  effect.  The  celebrated  Anthem,  by  Boyce, 
1 1  have  surely  built  thee  an  house ' — was  given  after  the 
sermon,  very  impressively.  It  commenced  with  a  succes- 
sion of  solos;  first  the  Bass,  (Massett,)  then  the  Soprano 
(Mrs.  Loder,)  next  the  Contralto  (Miss  Sinclair,)  and 
lastly  the  Tenor,  (Mr.  Demarest,)  and  then  the  various 
voices  blended  in  Duettos,  and  Trios,  and  a  chorus,  with 
the  most  transcendent  effect;  Dr.  Hodges  accompanying 
upon  (what  there  was  of)  the  noble  organ,  with  great 
feeling  and  taste.  The  accomplished  Director,  we  were 
glad  to  see,  had  the  good  sense  to  adapt  the  metrical 
psalms  given  out,  to  plain  and  solid  church  tunes  that 
everybody  could  join  in." 


. _., -l«lHi 


5°  Trinity  Church,  New  York 

XII 

1846-1852 

The  church  was  not  quite  completed  as  to  some  of  the 
details,  and  was  closed  again  for  a  week  or  two,  the  con- 
secration having  been  hastened  to  allow  the  acting  Bishop 
to  return  to  his  own  diocese.  The  services  had  hardly 
been  resumed  when  there  came  a  note  from  the  Rector 
objecting  to  the  singing  of  responses  after  Command- 
ments, also  to  the  short  interludes  which  Dr.  Hodges 
played  between  the  offertory  sentences;  requesting  also 
that  the  music  generally  might  be  shortened.  So  there 
was  at  once  considerable  cutting  down,  and  the  two  mat- 
ters specially  mentioned  were  discontinued,  the  Kyries 
being  sung  only  on  high  days. 

There  were  complaints  of  "  too  much  science  "  in  the 
music,  and  a  consequent  difficulty  to  distinguish  the  words. 
"  The  congregation,  in  those  days,  was  best  satisfied  with 
plain  chants  and  hymns,  and  would  gladly  have  dispensed 
with  the  anthem  Te  Deums,  always  excepting  Jackson 
in  F.  There  was  much  grumbling  over  the  "  severity  " 
of  the  English  Cathedral  music,  so  the  Doctor  (while  at 
St.  John's  Chapel)  wrote  a  Service  in  much  lighter  style, 
with  solos,  symphonies,  trills  and  such  things,  and  called 
it  the  New  York  Service.  It  answered  its  purpose,  and 
the  grumblers  were  silenced  for  a  time."  (A.  G.  Wood.) 
This  was  the  Service  in  D. 

There  was  talk  at  this  early  date  of  music  at  the  daily 
services;  it  was  urged  chiefly  by  the  Rev.  Dr.  Higbee, 
and  at  his  instigation  Dr.  Hodges  wrote  to  the  Rector 
with  a  proposal  on  the  subject  and  estimate  of  cost.  The 
estimate  was  considered  too  high,  and  the  project  was 
dropped.     In  October  the  organ  was  completed,  and  its 


Choir  and  Music  51 

capabilities  were  displayed  at  various  exhibitions,  which 
were  not  always  edifying;  an  account  of  these  matters 
will  be  found  in  Appendix  B. 

There  was  not  much  encouragement  for  the  display 
of  energy  by  the  organist;  the  authorities,  as  well  as  the 
congregation,  disliked  "  Services  "  and  did  not  care  much 
for  anthems.  For  Christmas  Day  one  of  Dr.  Hodges' 
own  anthems  had  been  prepared;  the  Rector,  on  being 
notified,  said  that  it  must  be  sung  before  the  sermon  and 
after  the  Hymn,  which  could  on  no  account  be  omitted; 
he  also  declined  to  give  out  the  words  of  the  anthem. 
Under  these  circumstances  Dr.  Hodges  concluded  to  give 
up  the  anthem,  and  none  was  sung  until  two  years  after- 
wards. 

On  the  first  anniversary  of  the  consecration,  Ascen- 
sion Day,  1847,  there  was  a  grand  service  with  full  choir 
at  9  a.m.,  the  usual  hour  for  several  years  after.  The 
"  Consecration  Service  "  was  sung,  and  there  was  a  cele- 
bration of  Holy  Communion,  but  no  anthem.  In  October 
the  General  Convention  assembled  in  this  city,  and  an 
exhibition  of  the  organ  at  Trinity  was  again  given,  the 
organist  of  the  Church  taking  no  part  in  it. 

On  Christmas  Day,  1847,  tne  Service  was  Hodges  in 
D,  the  "  New  York  Service,"  Mrs.  Bourne  taking  the 
treble  solos;  the  Sanctus  and  Gloria  in  Excelsis  were 
also  sung,  but  no  anthem.  The  soft  voluntaries  be- 
tween Offertory  sentences  were  resumed  at  the  Rector's 
suggestion;  they  had  been  adopted  at  another  Church, 
and  there  found  acceptable.  The  entire  choir  was  re- 
tained for  the  Communion  service,  which  almost  caused 
a  mutiny;  the  boys  were  riotous  at  being  compelled  to 
stay,  and  some  of  them  refused  to  sing;  the  adult  mem- 
bers were  also  dissatisfied. 


52  Trinity  Church,  New  York 

In  1848  little  occurred  worthy  of  note.  On  Good  Fri- 
day there  was  no  music  but  metrical  Psalms ;  Easter  Day, 
Morning  and  Communion  Services  were  Hodges  in  F. 
Ascension  Day,  the  usual  service  at  nine,  with  full  choir; 
the  Consecration  Service  was  sung,  but  no  anthem.  A 
proposition  to  put  the  boys  in  the  chancel  on  this  day  was 
vetoed.  A  new  chant  Service,  Langdon  in  A,  must  be  set 
down  as  an  event  in  July.  In  September,  at  the  funeral 
of  Nehemiah  Rogers,  who  had  been  a  Vestryman  for 
thirty-five  years  and  Warden  for  twenty-six  of  those 
years,  the  music  was  by  a  quartet;  it  was  first  proposed 
to  have  two  voices.  Seven  dollars  was  paid  for  quartet 
and  organ  blower,  the  organist  taking  no  fee.  The  sub- 
ject of  music  at  the  daily  service  is  again  brought  up  by 
some  one  who  proposes  a  subscription,  but  nothing  is 
done. 

On  Christmas  Day,  1848,  Dr.  Hodges'  anthem,  "  In 
the  beginning,"  was  really  sung;  the  Consecration  Serv- 
ice also,  and  Communion  Service,  Hodges  in  F.  There 
was  a  full  choir,  and  the  concluding  voluntary  was  the 
Handel  chorus,  "  For  unto  us  a  child  is  born  " ;  the  Doc- 
tor was  great  at  playing  these  choruses,  which  formed 
the  chief  material  for  an  English  organist's  voluntaries, 
before  Bach's  fugues  were  revived  or  Batiste  known  to 
the  world. 

The  Psalms  for  the  day  had  not  been  chanted  since 
the  opening  service,  and  were  not  chanted  afterwards  at 
any  regular  service  in  Dr.  Hodges'  time. 

Quinquagesima  Sunday,  1849,  there  was  a  special  ser- 
mon and  collection  in  aid  of  the  extension  of  the  Church 
in  California;  Boyce's  great  anthem,  "  O  where  shall  wis- 
dom be  found,"  was  then  sung  for  the  first  time.  It  was 
very  appropriate,  in  view  of  the  recent  discovery  of  gold 


Choir  and  Music  53 

in  that  State,  and  was  made  more  so  by  the  addition  of 
an  opening  recitative,  which  the  Doctor  wrote  for  the 
occasion,  to  the  words,  "  Surely  there  is  a  vein  for  the 
silver,  and  a  place  for  gold  where  they  fine  it :  but  where 
shall  wisdom  be  found,"  etc. 

Easter  Day,  the  service  music  was  all  by  Dr.  Hodges, 
in  E,  and  F,  and  C.  At  the  afternoon  service  the  Easter 
anthem  was  chanted  before  the  sermon,  instead  of  a  hymn. 
Thanksgiving  Day,  the  morning  service,  Hodges  in  D, 
with  Boyce's  anthem,  "  O  give  thanks  " ;  an  interpolated 
duet,  "  O  let  your  songs  be  of  Him,"  was  sung  by  Madame 
Muller,  who  had  recently  been  engaged,  and  Miss  Hodges. 
On  Christmas  Day  "everything  went  wrong:  boys  rest- 
less, women  out  of  tune,  men  out  of  time;  the  two  sides 
would  not  pull  together,  while  the  playing  of  the  organist 
was  horrible.  It  was  well  that  we  had  no  extra  music, 
no  Kyrie,  no  Trisagion,  no  Gloria  in  Excelsis,  no  anthem." 
Truly  sad  this,  but  it  has  happened  both  before  and  since 
then,  many  times,  at  least  so  far  as  the  first  sentence  goes. 

For  1850  I  find  nothing  to  mention  but  a  new  morn- 
ing service,  Nares  in  C,  on  Ascension  Day.  185 1  also 
shows  nothing  of  interest  until  the  close  of  the  year. 
Easter  Day,  no  extra  music,  no  responses  to  Command- 
ments. Ascension  Day,  no  anthem;  service  lasted  from 
9  to  12.15,  "with  little  music." 

One  or  two  real  events  in  December  of  this  year  pleas- 
antly relieve  the  monotony  of  negations.  So  much  has 
been  said  of  what  was  not  done,  that  a  movement  which 
promised  to  be  of  great  importance  to  the  cause  of  Church 
music  will  be  a  welcome  change.  The  movement  referred 
to  was  the  establishment  of  a  "  Church  Choral  Society," 
of  which  the  Trinity  choir  was  the  nucleus  and  Dr. 
Hodges  the  director.     On  the  17th  of  December  a  meet- 


54  Trinity  Church,  New  York 

ing  was  held,  at  which  a  constitution  was  adopted  and 
officers  elected.  The  Vestry  gave  permission  for  the  use 
of  St.  John's  Sunday-school  room,  and  the  first  meeting 
for  practice  occurred  on  the  7th  of  January,  1852.  The 
society  continued  in  existence  for  two  years,  and  gave 
four  public  services,  at  three  of  which  the  music  was  con- 
fined to  chanting;  these  will  be  mentioned  as  they  occur. 
December  23d,  the  burial  service  of  Mr.  A.  Kyle,  a 
member  of  the  choir,  was  held  at  Trinity  Church.  The 
full  choir  attended  and  sang  the  burial  anthem,  a  metrical 
Psalm,  and  "  I  heard  a  voice."  An  event  of  different 
character  was  an  exhibition  of  the  capabilities  and  train- 
ing of  the  Trinity  Church  boys,  given  in  St.  John's  school- 
room before  a  number  of  invited  guests.  A  list  of  Services 
and  anthems  was  handed  to  the  audience  for  selection, 
and  Dr.  Berrian  first  called  for  the  service  of  Gibbons 
in  F.  When  this  had  been  sung,  a  new  chant  was  writ- 
ten on  the  blackboard;  to  this,  after  a  few  trials,  the 
boys  chanted  the  Benedictus.  Several  other  pieces  were 
sung,  ending  with  Greene's  anthem,  "  Praise  the  Lord,  O 
my  soul."  There  had  been  some  ill-natured  remarks  to 
the  effect  that  the  boys  were  not  thoroughly  taught  and 
could  not  sing  from  notes,  so  Dr.  Hodges  took  this  means 
of  silencing  such  criticisms. 

XIII 

1852-1855 

Now  comes  the  first  service  of  the  Church  Choral 
Society,  held  in  Trinity  Church  on  the  13th  of  April, 
1852,  at  3  p.m.  The  service  was  fully  choral,  the  first 
part  intoned  by  the  Rev.  Messrs.  Shackelford  and  Elmen- 


Choir  and  Music  55 

dorff,  the  last  part  by  the  Rev.  J.  H.  Hopkins.  The 
members  of  the  society  were  placed  in  the  front  pews, 
and  chanted  the  responses,  aniens,  the  ioth  selection  of 
Psalms,  the  Cantate,  and  Benedic.  Dr.  Hodges'  judg- 
ment on  the  music  was  that  the  effect  was  good  and 
cathedral-like,  though  the  Priests  went  flat  and  the  choir 
was  not  always  steady.  Dr.  Hodges  was  at  the  organ, 
and  both  were  too  far  off  for  efficient  support.  Three 
reliable  boys  had  been  placed  in  the  front  pews  as  lead- 
ers; but  some  one  interfered  and  told  them  to  sing  alto, 
so  this  precautionary  measure  failed. 

This  was  the  first  choral  service  held  in  Trinity 
Church;  being  an  experiment,  it  was  desired  to  have  it 
as  private  as  possible,  but  the  newspapers  got  hold  of  it 
and  announced  it  as  a  grand  affair;  consequently  there 
was  a  very  large  congregation,  which  included  the  lead- 
ing clergy  of  the  city. 

The  second  public  service  by  the  Society  was  held  on 
the  8th  of  June  at  the  Church  of  the  Annunciation.  Rev. 
Dr.  Tucker  intoned  the  first  part,  and  Rev.  J.  H.  Hop- 
kins the  second.  It  was  similar  to  the  first  in  plan,  but 
hardly  so  good  in  execution.  There  was  trouble  with  the 
organ,  and  only  a  small  attendance  of  singing  members. 

One  week  later,  June  15th,  at  10.30,  there  was  a  spe- 
cial service  at  Trinity  Church  to  commemorate  the  third 
Jubilee  of  the  (English)  Society  for  the  Propagation  of 
the  Gospel.  This  society,  generally  known  as  the  S.  P.  G., 
may  be  said  to  have  founded  Trinity  Parish,  and  cer- 
tainly assisted,  protected,  and  controlled  its  first  steps;  so 
that  a  participation  by  the  Parish  in  its  jubilee  was  emi- 
nently fitting. 

The  full  choir  attended,  and  the  music  consisted  of 
Te  Deum   and  Benedictus,   Hodges   in    E;    Communion 


56  Trinity  Church,  New  York 

Service,  Hodges  in  F,  with  the  anthem  of  Travers, 
"  Ascribe  unto  the  Lord."  In  the  latter  the  tenor  solos 
were  sung  by  Mr.  Safford,  the  duet  by  Messrs.  John- 
son and  Clark,  and  the  bass  solo  by  Mr.  Conkey;  Miss 
Goodwin  taking  the  treble  part  in  the  quartet;  all  being 
members  of  the  choir.  It  was  announced  prominently 
beforehand  that  the  Psalms  for  the  day  would  be 
read. 

The  next  event  was  the  consecration  of  Bishop  Wain- 
wright  at  Trinity  Church,  November  10th  of  the  same 
year.  The  full  choir,  which  included  ten  boys,  was  in- 
creased by  the  addition  of  seven  volunteers,  among  whom 
were  Mrs.  Bostwick  and  Mrs.  Bourne.  The  music  con- 
sisted of  Te  Deum  and  Jubilate,  Jackson  in  E,  and  Com- 
munion Service,  Hodges  in  F;  Psalms  were  read,  and 
there  was  no  anthem.  It  must  have  been  a  week  day,  as 
the  choir  were  paid  two  and  a  half  dollars  each,  and  boys 
fifty  cents. 

Thanksgiving  Day,  Hodges  in  C,  and  an  anthem,  "  O 
be  joyful,''  arranged  by  the  organist  from  a  "  Gaude- 
amus  "  of  Carissimi.  There  was  a  full  choir,  and  "  the 
music  was  well  done,"  a  remark  which  I  do  not  find  often. 
There  is  a  tradition  that  the  music  was  always  well  done 
under  Dr.  Hodges'  direction,  but  the  records  do  not  bear 
this  out.  There  was  the  same  mixture  of  good  and  in- 
different, with  an  occasional  bad  service,  that  we  find  in 
later  times.  The  appropriation  of  $1,500  was  insufficient, 
even  then,  for  a  choir  of  at  least  eight  voices.  I  observe 
that  in  the  following  year  two  ladies  were  engaged,  at 
salaries  of  $150  each,  while  the  soprano  at  Calvary 
Church  received  $600  a  year  at  the  same  date.  If  the 
music  was  not  always  as  good  as  might  be  expected,  this 
should  be  taken  into  consideration. 


Choir  and  Music  57 

On  Christmas  Day,  1852,  the  morning  Service  was 
Hodges  in  C,  with  Greene's  anthem,  "  Behold,  I  bring 
you  glad  tidings  " ;  no  Communion  Service.  One  solo  in 
the  Te  Deum  was  sung  by  Robert  Walker,  who  was 
nervous  and  hardly  did  himself  justice;  the  other  solos 
by  Mrs.  Dayas.  So  says  the  record,  but  I  find  no  solos  in 
my  copy  of  Hodges  in  C. 

The  Church  Choral  Society  gave  its  third  service  on 
December  29th,  11  a.m.,  at  Grace  Church,  Brooklyn;  this 
time  on  a  more  ambitious  scale  as  regards  the  selections, 
but  with  results  far  from  satisfactory.  There  were  nu- 
merous mishaps;  it  is  significant  that  neither  Rector, 
organist  of  the  Church,  nor  key  of  the  organ  could  be 
found  when  the  time  came.  Mr.  Labagh,  the  organ 
builder,  was  present,  and  contrived  to  get  the  organ  open, 
so  the  service  proceeded.  It  was  choral,  and  intoned  by 
the  Rev.  Messrs.  Shackelford  and  Hopkins;  the  Psalms 
were  chanted,  the  Te  Deum  and  Jubilate  by  Rogers  in  D 
sung,  with  the  Nunc  Dimittis  of  Rogers'  Service  for 
anthem.  The  record  says :  "  Organ  thin — seat  uncom- 
fortable— voices  out  of  control — time  constantly  broken — 
many  out  of  tune." 

Undeterred,  the  society  gives  its  fourth  service  at 
Trinity  Church,  March  17,  1853.  This  time  the  Litany 
was  sung,  but  there  was  nothing  beyond  chanting;  the 
choir  was  small  and  music  poor.  One  person  in  the  con- 
gregation was  much  disturbed  in  mind,  and  wrote  to  the 
Courier  next  day  that  "  he  goes  to  Trinity  Church  every 
day  to  say  his  prayers,  but  on  this  day  he  could  not  say 
them,  on  account  of  the  musical  innovations." 

In  May,  Dr.  Hodges  resigned  his  "  Professorship  of 
Sacred  Music  "  in  Trinity  School,  being  dissatisfied  with 
the  arrangements.     The  boys  continued  to  sing  in  the 


58  Trinity  Church,  New  York 

Church  choir,  but  this  resignation  relieved  him  from  the 
duty  of  instruction  to  the  entire  school. 

Ascension  Day,  1853,  the  usual  service  took  place  at 
9  a.m.,  with  the  "  Consecration  Service  "  and  Croft's  an- 
them, "  God  is  gone  up." 

July  26th,  at  the  funeral  of  Rev.  Dr.  Parks,  one  of  the 
Trinity  clergy,  there  was  a  choir  of  four  ladies,  six  boys, 
and  eight  men,  who  sang  the  burial  anthem  to  Morley's 
chant,  "  Man  that  is  born  "  and  "  I  heard  a  voice,"  to 
Hodges  in  F#  minor  and  G;  and  Boyce's  anthem,  "  Lord, 
teach  us  to  number  our  days."  This  was  a  very  elaborate 
service,  and  the  Tribune  said  that  it  was  beautifully  sung. 

The  General  Convention  held  its  opening  service  at 
Trinity  Church  this  year;  there  was  a  choir  of  eighteen 
adults  and  ten  boys,  "  with  four  black  bellows  blowers." 
The  boys  were  R.  Walker,  Terhune,  C.  Walker,  Fanning, 
Ridner,  Hall,  Ferguson,  and  Whiting,  trebles;  Ouartley 
and  Outcalt,  altos.  The  Te  Deum  and  Jubilate  of  Nares 
in  C,  and  Dr.  Hodges'  anthem,  "  Behold  now,  praise  the 
Lord,"  were  sung.  Organist  and  choir  left  at  two  o'clock, 
though  the  service  lasted  till  3.30;  the  great  congrega- 
tion of  Clergy  and  Deputies  singing  the  Gloria  in  Excelsis 
to  the  old  chant  without  accompaniment. 

Next  came  the  consecration  of  Bishop  Kip  at  Trinity, 
October  28th.  The  Service  was  Hodges  in  F,  and  anthem. 
"Ascribe  unto  the  Lord  "  (Travers),  Nos.  2  and  3  only; 
solos  by  Mr.  Good,  tenor,  and  Mr.  Conkey,  bass.  Thanks- 
giving Day,  Jackson  in  E,  and  "  Praise  the  Lord,"  Hayes. 
Christmas  Day,  no  extra  music,  and  that  implies  a  very 
plain  service. 

In  the  following  year,  1854,  a  good  many  things  hap- 
pened. The  year  began  badly;  first,  the  Church  Choral 
Society  expired ;  the  attendance  had  been  gradually  dimin- 


Choir  and  Music  59 

ishing,  and  now  ceased  altogether.  Then,  in  Lent,  Dr. 
Hodges  had  his  first  partial  attack  of  paralysis,  which 
disabled  his  left  hand,  and  for  a  short  time  Mr.  J.  S.  B. 
Hodges  officiated  at  the  organ. 

By  Easter  Day  the  Doctor  had  recovered,  and  in  the 
afternoon  Purcell's  Service  in  Bb  was  sung  for  the  first 
time.  It  was  "  only  tolerably  well  done,"  but  considering 
the  difficulty  of  the  music  and  the  exacting  demands  of 
the  organist,  that  was  sufficient  praise;  it  needs  a  cathe- 
dral choir  of  skilled  vocalists,  constantly  singing  together, 
for  a  perfect  execution  of  Purcell's  music. 

July  2d,  the  Rev.  J.  S.  B.  Hodges  was  ordained  Dea- 
con; there  was  music,  of  course,  and  Hodges  in  F  was 
sung.  The  choir  was  good,  but  not  large;  among  the 
tenors  were  the  Rev.  E.  M.  Pecke  and  Mr.  A.  G.  Wood. 

For  the  funeral  of  Bishop  Wainwright,  September 
23d,  there  was  quite  a  large  choir,  with  extra  singers  en- 
gaged. The  Anthem  was  chanted,  and  the  sentence,  "  I 
heard  a  voice,"  sung  to  Hodges  in  F;  there  was  also  a 
metrical  Psalm,  and  Mrs.  Bostwick  sang  "  I  know  that 
my  Redeemer  liveth."    The  choir  was  thus  composed: 

Trebles  Tenors 

Mrs.  Bostwick  Mr.  Good 

Mrs.  Bourne  Mr.  Dean 

Miss  Goodwin  Mr.  E.  M.  Pecke 

Miss  E.  Goodwin  Mr.  Wilson 
J.  H.  Ridner  Basses 

G.  Ferguson  Mr.  Conkey 

W.  Terhune  Mr.  Trost 

G.  Bostwick  Mr.  Neeves 

Altos  Dr.  Roath. 
Mrs.  Worcester 
Miss  Rob john 
J.  Outcalt 
E.  G.  Drake 


60  Trinity  Church,  New  York 

There  was  so  great  a  crowd  at  the  doors  that  difficulty 
was  experienced  in  getting  the  choir  into  church. 

Dr.  Wainwright  was  considered  an  authority  on  ques- 
tions of  Church  music;  he  published  two  collections  of 
music  for  Church  use,  consisting  mostly  of  chants.  He 
was  a  great  advocate  of  chanting,  holding  the  same  views 
as  Dr.  Smith,  whose  book  was  described  on  a  previous 
page.  Dr.  Wainwright,  in  his  preface  (1819),  says: 
"  Metrical  music  is  but  a  modern  invention,  and  adds 
nothing  to  true  devotion,  and  the  worship  of  God."  He 
was  an  assistant  Minister  of  Trinity  Church,  and  had 
occasional  tilts  with  Dr.  Hodges;  each  perhaps  thinking 
that  he  knew  more  of  music  than  the  other.  It  is  said 
that  the  service  was  sometimes  begun  in  the  manner  of 
accompanied  recitative;  Dr.  Hodges  would  not  end  his 
voluntary  until  he  was  ready,  and  as  Dr.  Wainwright 
was  equally  determined  not  to  wait,  they  went  on  to- 
gether. 

November  22,  1854,  there  was  a  grand  function  at 
the  consecration  of  Bishop  Horatio  Potter,  the  late  Bishop 
of  this  Diocese.  A  very  long  voluntary  was  played  dur- 
ing the  entry  of  the  Clergy,  of  whom  there  were  170  in 
robes,  including  about  ten  Bishops.  "  The  music  went 
well,"  and  included  Boyce's  Morning  Service  in  A  and 
Dr.  Hodges'  anthem,  "  Behold  now,  praise  the  Lord." 
The  choir  consisted  of  four  ladies,  six  men,  and  eight 
boys ;  J.  Outcalt — who  took  the  alto  part  in  a  quartet  and 
received  double  fee,  a  whole  dollar — Ridner,  Ferguson, 
Terhune,  Van  Boskerck,  Bostwick,  and  two  Maeders. 

Thanksgiving  Day  choir  consisted  of  "  two  poor 
trebles  and  the  boys  not  in  good  condition ;  two  altos,  Mrs. 
Worcester  and  J.  Outcalt ;  one  tenor  and  no  bass."  Serv- 
ice was  Jackson  in  E,  and  anthem,  "  Rejoice  in  the  Lord  " 


Choir  and  Music  6i 

(Nares),  the  solo  well  sung  by  Mr.  Dean,  the  rest  of  the 
music  very  poor. 

Christmas  Day,  "  a  great  deal  of  music,  such  as  it 
was  " ;  Jackson  in  E  and  Hodges  in  F,  with  the  Amens 
sung  from  the  Creed  to  end  of  prayers. 

XIV 
1855-1858 

At  the  opening  of  the  year  1855  the  question  was 
much  discussed,  Who  was  going  to  be  organist  of  Trinity 
Chapel,  then  nearly  completed?  Many  persons  wished  to 
see  Dr.  Hodges  appointed  there,  and  he  himself  rather 
desired  it;  but  the  Vestry,  in  February,  appointed  Dr. 
Tuckerman,  whom  Dr.  Hodges  had  recommended  for 
Trinity  Church. 

The  consecration  was  fixed  for  April  17th,  and  Dr. 
Tuckerman  was  absent  in  Europe ;  so  the  Vestry  requested 
Dr.  Hodges  to  take  charge  of  the  Chapel  music  until 
Tuckerman  returned.  The  music  at  the  consecration  was 
therefore  done  by  the  organist  and  choir  of  Trinity 
Church.  I  give  the  entire  programme  from  the  two 
printed  papers  which  were  circulated,  "  Order  of  Exer- 
cises "  and  "  Order  of  Vocal  Music  " : 

ORDER  OF  EXERCISES 

AT   THE 

Consecration  of  Trinity  Chapel,  New  York 
Tuesday,  April  17th,  1855 
Voluntary — during  which  the  procession  will  be  seated. 

After  the  Consecration  Service 
Anthem — "  The  Lord  is  in  His  holy  temple"  .       .       .      Dr.  Hodges 
Venite,  and  Proper  Psalms Chaunted 


62  Trinity  Church,  New  York 

Te  Deum  and  Benedictus Hodges  in  E 

Metrical  Selection  21.    Tune (Bristol) 

Responses  to  Commandments      .....  Hodges  in  E 

Gloria  Tibi Hodges  in  E 

Metrical  Selection  79 (Old  Hundredth) 

Anthem — "I  was  glad."  (Composed  for  the  occasion)  Dr.  Hodges 
Voluntary — after  Prayer  for  Church  Militant. 

Trisagion Hodges  in  D 

Hymn  93 (St.  Ann's) 

Gloria  in  Excelsis Hodges  in  G 

Voluntary — during  consumption  of  elements. 

The  choir  comprised  twenty-five  voices:  sixteen  adults, 
four  to  each  part,  and  nine  boys — Ridner,  Outcalt,  Ter- 
hune,  Ferguson,  Bostwick,  Maeder,  Sellew,  Van  Boskerck, 
and  Lewis.  The  Doctor  pronounced  the  music  as  "  good, 
some  very  good."  Some  extracts  from  the  newspapers 
follow : 

"  The  music  was  particularly  admired.  It  could  not 
be  surpassed  by  the  Choir  of  any  Church  in  the  city." 

"  The  music  at  the  Consecration  of  Trinity  Chapel 
was  a  most  striking  success." 

Richard  Storrs  Willis,  of  the  Musical  World,  speaks 
of  "  the  full  proportion  given,  of  congregational,  choir, 
and  instrumental  music — the  beau  ideal  of  their  combina- 
tion for  Church  use." 

A  correspondent  in  the  Christian  Witness :  "  The 
music  surpassed  anything  I  have  ever  heard  on  such  an 
occasion.  ...  I  would  say  that  it  combined  everything 
which  the  place  and  the  occasion  seemed  to  require." 

The  most  interesting  feature  in  the  music  was  the 
anthem,  new  for  the  occasion,  and  a  very  interesting  as 
well  as  clever  composition;  it  contains  one  well-worked- 
out  fugue  on  a  spirited  subject,  and  a  second  only  briefly 


Choir  and  Music  63 

developed;  also  solos  for  barytone  and  contralto  and  a 
trio.  On  this  occasion  the  barytone  solos  were  sung  by 
the  Rev.  J.  S.  B.  Hodges ;  the  trio,  "  Exhortation  for 
three  or  more  Priests,"  was  sung  by  seven  Priests,  the 
Rev.  Messrs.  Shackelford  and  Tucker,  first  tenors;  Rev. 
Messrs.  J.  H.  Hopkins  and  E.  M.  Pecke,  second  tenors; 
and  the  Rev.  Messrs.  Leonard,  Geer,  and  J.  S.  B.  Hodges, 
basses;  the  contralto  solo  by  Miss  Hodges.  Having  Dr. 
Hodges'  assurance  that  the  music  generally  was  good,  it 
is  safe  to  say  that  the  anthem  produced  a  great  effect, 
and  it  must  have  struck  the  hearers  as  something  very 
different  from  the  feeble  compositions  then  generally 
heard.  It  is  said  that  the  anthem  occupied  twenty-two 
minutes,  and  the  sermon  twenty-four  minutes. 

I  find  in  one  of  the  newspaper  accounts  a  description 
of  the  procession  as  it  entered  the  Chapel,  which  was  as 
follows : 

12  Sextons  with  staves  of  office. 

Bishops  Potter  and  Whitehouse. 

Rector  and  Clergy  of  the  Parish. 

About  100  clergy,  in  canonicals. 

Candidates  for  Holy  Orders.     (Seminary  Students.) 

Wardens  and  vestrymen  of  Trinity  Church,  bearing 

blue  wands,  tipped  with  gold. 
Architect  and  assistants. 
Vestrymen  of  other  churches. 

Dr.  Hodges  remained  at  the  Chapel  for  about  two 
months,  and  during  this  time  Dr.  Walter  took  charge  of 
the  music  at  Trinity  Church.  What  choir  he  had  I  do 
not  know;  but  the  boys  were  there,  and  a  hard  time  he 
had  with  them.  In  fact  the  music  got  into  such  a  dis- 
organized condition  that  Dr.  Hodges  was  recalled  to 
Trinity  Church,  under  a  new  appointment  from  the  Ves- 


64 


Trinity  Church,  New  York 


try,  and  resumed  his  duties  there  on  Sunday,  June  17th. 
The  engagements  had  got  very  much  mixed  up,  but  were 
now  straightened  out;  Dr.  Hodges  returned  to  his  old 
seat,  Dr.  Tuckerman  resigned  whatever  appointment  he 
had  in  the  Parish,  and  Dr.  Walter  was  assigned  to  Trin- 
ity Chapel,  to  which  he  received  a  permanent  appointment 
in  the  following  December. 

Dr.  Tuckerman  played  one  Sunday  at  Trinity  Church, 
and  one  only,  resigning  immediately  afterwards.  That 
Sunday  was  notable  for  the  fact  that,  for  some  reason, 
the  Te  Deum  was  read;  this  had  never  happened  before 
since  the  Church  was  consecrated.  Dr.  Tuckerman  was 
of  a  restless  disposition,  and  always  found  it  difficult  to 
settle  steadily  down  to  Church  work.  Fortunately,  or  un- 
fortunately, as  it  may  be,  he  had  private  means,  which 
allowed  him  to  do  as  he  pleased. 

The  question  of  music  at  the  daily  services  came  up 
again  that  summer ;  "  a  zealous  churchman  has  offered  to 
bear  the  expense  of  a  regular  choir  at  daily  services," 
says  the  Doctor;  the  offer  was  published  in  the  Church- 
man and  the  Daily  Times,  and  then  no  more  was  heard 
of  it. 

The  Doctor's  health  was  not  in  good  condition,  and 
in  October  he  secured  from  the  Vestry  three  months' 
leave  of  absence.  Mr.  J.  F.  Huntington  had  been  playing 
for  him  in  September,  and  was  now  appointed  by  the 
Rector  to  take  temporary  charge. 

The  three  young  men  who  have  been  mentioned  lately, 
Messrs.  Tuckerman,  Walter,  and  Huntington,  were  all 
pupils  of  Dr.  Hodges;  the  last  named  carrying  his  admi- 
ration to  the  point  of  imitating  peculiarities  in  dress,  cut 
of  hair,  etc. ;  this  was  not  difficult,  as  the  two  were  of 
about  the  same  size  and  complexion. 


Choir  and  Music  65 

In  January,  1856,  the  Doctor  resumed  his  duties,  but 
during  this  year  very  little  was  done;  a  few  points  only 
call  for  attention.  At  a  Confirmation  Service,  in  April, 
there  was  a  fresh  anthem  by  Boyce,  "  Lord,  who  shall 
dwell."  On  Ascension  Day  the  hour  of  service  was 
changed  to  10.30;  the  "  Consecration  Service"  and  Com- 
munion Service  of  Hodges  in  C  were  used,  with  Croft's 
anthem,  "  God  is  gone  up."  Gloria  in  Excelsis  was  sung 
by  the  congregation  without  accompaniment,  Dr.  Haight 
leading  it  off,  for  it  seems  that  organist  and  choir  got 
tired  and  retired. 

Whitsun  Day,  Clarke  in  G,  but  no  anthem;  St.  Bar- 
nabas Day  there  was  a  service  for  the  Sunday-school, 
morning  prayer  and  ante-communion;  choir  small  and 
music  plain.  From  this  date,  for  about  a  year  and  a  half, 
there  was  a  small  choir  present  at  the  Saints'  Day  serv- 
ices, but  it  was  little  more  than  a  name;  St.  Simon  and 
St.  Jude's  Day  it  consisted  of  five  boys  and  two  men,  who 
sang  one  metrical  Psalm.  Thanksgiving  Day  nearly  all 
the  choir  were  present,  but  in  poor  condition;  part  of  an 
anthem  was  sung,  "  O  Lord,  how  manifold,"  by  Dr. 
Hodges. 

1857,  Epiphany,  a  quartet  with  six  or  eight  boys  sang 
a  metrical  Psalm  and  responses  to  Commandments,  but 
nothing  else.  There  was  a  celebration  of  Holy  Com- 
munion, I  imagine  for  the  first  time  on  that  day,  and 
without  music.  "  Dr.  Haight  preached  from  a  little  lec- 
tern, decorated  in  front  with  an  apron ;  on  it  a  white  cross 
on  a  scarlet  ground."  The  Doctor  disapproves  of  the 
innovation. 

About  this  time  Dr.  Cutler  applied  for  appointment 
as  assistant  organist;  his  application  was  supported  by 
Dr.  Hodges,  but  was  not  acceded  to  by  the  Vestry. 


66  Trinity  Church,  New  York 

A  few  lines  will  sufficiently  describe  the  music  for  the 
year.  Ash  Wednesday,  congregation  of  about  a  hun- 
dred, litany,  ante-communion  and  lecture.  "  Opening 
voluntary  of  the  dismal  order — a  solemn  Psalm  and  a 
mournful  hymn,  sung  by  a  choir  of  two  women  and 
nine  boys."  On  Sundays,  Benedicite  and  Benedictus,  with 
simple  Kyries,  the  latter  now  a  regular  practice.  Holy 
Week,  services  every  day  with  music;  Dr.  Walter  some- 
times officiating.  Easter  Day,  familiar  Service  music 
and  no  anthem.  Ascension  Day,  the  same.  Thanksgiv- 
ing Day,  a  new  anthem,  "Praise  the  Lord"  (Creygh- 
ton).  From  St.  Andrew's  Day,  music  on  Saints'  Days 
was  discontinued,  funds  being  insufficient.  Christmas 
Day,  Hodges  in  D  and  F;  no  anthem. 

1858. — No  music  at  Epiphany  this  year.  On  the  7th 
of  February,  David  Lyon,  the  stalwart  sexton  and  terror 
of  the  small  boys,  had  a  fit,  soon  followed  by  his  funeral, 
at  which  the  entire  choir  assisted. 

Easter  Day  was  notable  for  the  first  use  of  floral 
decoration ;  there  was  a  display  of  flowers  in  the  font  and 
in  the  chancel.  The  Services  were  Nares  in  C  and  Hodges 
in  F  in  the  morning,  Hodges  in  C  in  the  afternoon. 

On  the  1st  of  September  there  was  a  grand  celebra- 
tion, civic  and  national,  on  the  completion  of  the  Atlantic 
cable.  It  began  with  a  solemn  service  at  Trinity  Church, 
attended  by  the  Mayors  and  Corporations  of  New  York, 
Brooklyn,  Jersey  City,  and  Hoboken;  General  Scott,  Brit- 
ish consuls  of  New  York  and  Charleston,  naval  and  mili- 
tary officers,  etc.,  etc.  I  extract  part  of  the  account  of  the 
service  from  Frank  Leslie's  Illustrated  Newspaper'. 

"  The  ceremonies  of  the  day  were  inaugurated  with  a 
solemn  service  in  Trinity  Church,  which  commenced  at 
about  half  past  ten,  and  at  which  many  personages  of 


Choir  and  Music  67 

distinction  were  present.  The  magnificent  edifice  was 
profusely  but  tastefully  decorated  with  flowers,  and  the 
cloistered  gloom  of  the  interior  was  dispelled,  for  this  day 
of  rejoicing,  by  gorgeous  arches,  garlands  and  constella- 
tions of  variegated  beauty.  The  far-famed  chimes  of 
Trinity  were  rung  before  and  during  the  continuance,  as 
well  as  at  the  close,  of  the  service.  .  .  .  Besides  the 
Right  Reverend  Bishop  (Doane  of  New  Jersey)  nearly 
one  hundred  and  fifty  Episcopal  clergymen  were  assem- 
bled. They  entered  the  church  in  procession,  through 
the  grand  doorway,  at  ten  o'clock.  A  very  numerous 
choir  had  been  selected  from  among  the  best  church  sing- 
ers in  New  York,  and  Dr.  Hodges  .  .  .  presided  at  the 
organ.  .  .  .  The  services  were  opened  with  an  anthem 
sung  in  full  chorus  to  music  composed  by  Dr.  Hodges. 
The  choral  passages  of  the  ritual,  such  as  the  Venite,  &c, 
were  most  impressive,  and  the  great  feature  of  the  occa- 
sion— the  Te  Deum — was  probably  the  most  magnificent 
singing  that  has  ever  been  heard  in  an  American  church. 
...  At  the  conclusion  of  the  address  (by  Bishop  Doane) 
the  hundredth  psalm  was  given  out  by  Dr.  Berryan,  and 
sung  by  the  entire  congregation,  accompanied  not  only  by 
the  choir  and  organ,  but  by  the  chimes  of  the  bells." 

To  come  down  to  plain  prose,  the  "  very  numerous 
choir "  comprised  twenty-eight  voices ;  six  lady  trebles 
and  six  boys,  five  altos,  five  tenors,  and  six  basses.  Dr. 
Walter  played  the  opening  voluntary,  introducing  the 
national  airs,  "  Hail  Columbia "  and  "  God  Save  the 
Queen  " ;  Mr.  Huntington  accompanied  the  Venite,  and 
Dr.  Hodges  all  the  rest.  The  10th  selection  of  Psalms 
was  read,  and  followed  by  "  Gloria  in  Excelsis  " ;  the  Te 
Deum  was  Hodges  in  D  (New  York  Service) :  the  an- 
them, "  Behold,  how  good  and  joyful,"  by  Clark- Whitfeld. 


68  Trinity  Church,  New  York 

About  two  weeks  after  this,  the  organ  was  taken  to 
pieces  for  repairs  which  lasted  six  weeks.  An  Alexandre 
harmonium  was  placed  near  the  chancel,  and  during  this 
time  nothing  was  sung  but  metrical  Psalms.  One  of  the 
clergy  was  heard  to  remark  that  it  was  "  the  best  music 
he  ever  heard  in  Trinity  Parish !  " 

On  Sunday,  September  26th,  there  was  no  organist 
present,  and  the  choir  sang  without  accompaniment,  doing 
very  well.  Dr.  Hodges  was  disabled,  and,  in  fact,  had 
played  his  last  service  at  Trinity  Church.  The  Vestry 
gave  him  six  months'  leave  of  absence,  and  appointed  Dr. 
Cutler  to  take  the  duties  for  the  time;  at  the  end  of  six 
months  an  additional  year's  leave  was  given,  and  the 
Doctor  went  to  England.  He  returned  to  New  York  in 
May,  i860,  but  was  unable  to  resume  his  duties;  he  was, 
however,  nominally  organist  until  1863,  when  he  formally 
resigned  the  appointment  and  returned  to  his  native  place, 
Bristol,  where  he  died  in  1867.  The  direction  of  the 
music  was  therefore  really  in  Dr.  Cutler's  hands  from 
October,  1858. 


XV 

1858 

The  work  done  by  Dr.  Hodges  in  Trinity  Parish,  and 
especially  at  Trinity  Church,  was  most  important,  and 
lasting  in  effect.  When  he  came  to  New  York  the  Church 
music  was  in  such  a  condition  that  the  need  of  reform 
was  plainly  evident;  the  Vestry  had  already  taken  meas- 
ures looking  to  a  general  organization  of  the  music  of 
the  Parish,  and  were  fortunate  in  securing  a  man  so  well 


-  "«S=Z^3 


Choir  and  Music  69 

fitted  for  the  work  by  natural  talent,  thorough  education, 
and  cultivated  taste.  Some  might  think  that  his  great 
abilities  were  wasted  on  pioneer  work;  others  may  con- 
sider that  he  was  too  exacting  for  the  times,  and  expected 
too  much.  But  no  other  man  would  have  done  the  work 
so  thoroughly  and  effectually.  He  did  not  succeed  in  in- 
troducing the  choral  service,  the  boy  choir,  or  the  chant- 
ing of  the  Psalms;  but  he  laid  a  foundation  on  which  his 
successor  was  able  to  establish  all  these  points,  and  to 
achieve  a  service  which  would  bear  comparison  with  most 
of  the  English  cathedrals  at  the  same  date;  and  he  did 
succeed  in  making  known  and  admired  the  music  of  the 
English  Cathedral  composers.  His  professional  pupils, 
and  his  boys  now  scattered  all  over  the  country,  have 
helped  to  cultivate  the  taste  for  this  music;  and  though 
new  styles  have  arisen,  and  the  taste  of  the  day  demands 
more  stirring  music,  these  works  of  the  older  masters 
have  never  been  allowed  to  drop  out  of  sight  at  Trinity 
Church. 

The  compositions  of  Dr.  Hodges  were  numerous ;  only 
a  comparatively  small  number  have  been  published — some 
during  his  life  in  England,  and  later  in  New  York;  others 
by  his  daughter. 

The  most  important  were  the  anthem  performed  as  an 
exercise  for  his  degree  in  1825,  for  three  choirs  and 
orchestra,  not  published;  Psalms  91  and  122  (Consecra- 
tion anthem),  and  the  Consecration  Service.  A  list  has 
been  lately  published,  which  is  probably  complete;  this 
gives  twenty-five  anthems  and  seven  Services,  one  of 
which,  in  F,  includes  morning,  communion,  and  evening; 
there  are  also  a  number  of  parts  of  Services  and  miscel- 
laneous compositions.  Dr.  Hodges  also  wrote  several 
essays  and  magazine  articles  on  musical  subjects.    He  was 


70  Trinity  Church,  New  York 

honorary  organist  of  the  Philharmonic  and  St.  George's 
societies  of  New  York. 

With  regard  to  the  technical  merits  of  the  work  of 
his  choir  at  Trinity  Church,  the  preceding  pages  show 
that  the  Doctor  was  not  often  satisfied;  but  the  effect  on 
the  hearers  may  have  been,  and  doubtless  was,  better  than 
he  imagined.  Cathedral  music  was  never  intended  to  be 
sung  by  female  voices;  in  some  cases  it  may  be  a  question 
of  taste  whether  the  effect  is  improved,  or  otherwise,  by 
the  use  of  such  voices.  The  music  of  Haydn  and  Mozart 
was  never  intended  for  boys'  voices;  we  sing  it  in  that 
way,  and  sometimes  pretty  well,  but  miss  the  rich  and 
sensuous  quality  of  the  women's  voices.  The  two  cases 
are  analogous,  and  in  neither  is  the  composer's  original 
intention  carried  out. 

Very  much  of  the  charm  exercised  by  Dr.  Hodges' 
Church  music  lay  in  the  free  accompaniment  with  which 
he  would  fill  out  and  enrich  the  original  design  of  a  com- 
position, and  thus  reduce  what  is  sometimes  called  the 
"  severity  "  of  genuine  Church  music.  He  made  large 
use  of  the  left  hand  on  the  deep  tones  of  the  organ 
manual ;  sometimes  in  rapid  passages,  at  other  times  with 
a  heavy  and  unexpected  chord  suggesting  the  "  lightning 
of  the  thunder  "  in  Boyce's  anthem. 

Taken  altogether,  the  amiable  and  original  personal- 
ity, intellectual  cultivation,  sound  musicianship,  technical 
skill,  and  extreme  conscientiousness  formed  a  combina- 
tion in  Dr.  Hodges  not  often  encountered.  Of  his  four 
sons,  three  inherited  a  large  share  of  their  father's  musi- 
cal talent;  two  died  young,  and  the  third  has  been  for 
many  years  Rector  of  St.  Paul's  Church,  Baltimore.  His 
daughter,  Miss  Faustina  Hodges,  is  also  an  accomplished 
musician,   and   is   devoting  her   life   and   her   means   to 


... 


Choir  and  Music 


7i 


making  known  and  appreciated  her  father's  work  for 
the  Church.  The  Services  and  anthems  used  at  Trinity 
Church  by  Dr.  Hodges  were  as  follows : 


20  Morning 

Services 

Gibbons 

inF 

Rogers 

inD 

Clarke 

in  G 

King 

in  C 

<< 

inF 

Travers 

inF 

Boyce 

in  C 

<« 

in  A 

Nares 

inF 

(< 

in  C 

it 

inD 

Langdon  in  A 

Jackson 

inEb 

<< 

inE 

<< 

inF 

Hodges 

inC 

«( 

inD 

<< 

inE 

«< 

inF 

<( 

in  G 

1  Communion  Service 


Hodges  in  F 


3  Evening  Services 

Purcell  in  Bb 

Hodges  in  C 

"       inF 


Funeral  Services 
Croft  and  Purcell. 
Hodges. — "I  heard  a  voice." 
in  F  and  in  C. 


A  nthems 
Purcell. — "  O  sing  unto  the  Lord." 
Croft. — "  Cry  aloud  and  shout." 

"     — "God  is  gone  up." 

"     —"Praise  the  Lord." 

"     —"This  is  the  day." 
Creighton. — "  Praise  the  Lord,  O  my  soul." 
Greene. — "Behold,  I  bring  you  glad  tidings." 

"  —"Thou  visitest  the  earth." 
Travers. — "Ascribe  unto  the  Lord." 
Boyce. — "I  have  surely  built  thee  an  house." 

"     — "Lord,  teach  us  to  number  our  days." 


72  Trinity  Church,  New  York 

Boyce. — "Lord,  who  shall  dwell  in  thy  tabernacle." 

"     — "O  give  thanks." 

"     — "O  where  shall  wisdom  be  found." 
Nares. — "Rejoice  in  the  Lord." 
Hayes.— "  Great  is  the  Lord." 

"      —"Praise  the  Lord." 
Clarke-Whitfeld. — "Behold,  how  good  and  joyful." 
Hodges. — "Behold  now,  praise  the  Lord." 

"       — "In  the  beginning." 

"       — "O  Lord,  how  manifold." 
Carissimi. — "O  be  joyful." 
Marcello. — "O  Lord  our  governor." 

The  above  list  is  not  quite  complete,  but  contains  all  that 
I  can  discover.  Nearly  all  the  music  used  by  the  choir 
was  manuscript;  the  chants  (always  double)  and  hymn 
tunes  arranged  by  the  Doctor.  Altos  and  tenors  had  to 
sing  from  the  old  C  Clef,  now  quite  discarded. 


XVI 

1858-1859 

Henry  Stephen  Cutler  was  born  in  Boston,  Mass.,  in 
the  year  1825;  studied  the  organ  under  A.  U.  Hayter, 
then  organist  of  Trinity  Church,  Boston;  in  1844  went 
to  Europe,  and  continued  his  musical  studies  at  Frank- 
fort-on-the-Main.  While  abroad  he  visited  many  of  the 
English  cathedrals,  and  familiarized  himself  with  all  the 
details  of  the  choral  service  as  there  rendered.  On  his 
return  to  America  was  appointed  organist  of  Grace 
Church,  Boston  (now  defunct),  where  he  had  no  oppor- 
tunity of  carrying  out  his  views  on  Church  music.  In 
1852  he  became  organist  of  the  Church  of  the  Advent, 


HENRY    STEPHEN    CUTLER,    Mus.    Doc. 

Organist  and  Choirmaster, 

1858— 1865. 


Choir  and  Music  73 

of  which  Bishop  Southgate  was  then  Rector.  There  he 
was  able  to  organize  a  fine  and  successful  choir  of  boys 
and  men,  which  became  celebrated;  and  there  the  choral 
service  was  carried  out  with  much  dignity  and  impres- 
siveness.  Notwithstanding  these  advantages,  there  was 
sufficient  attraction  at  Trinity  Church,  New  York,  to  in- 
duce him  to  give  up  Boston  and  take  up  Dr.  Hodges' 
baton  at  the  mother  Church  of  the  country.  The  appoint- 
ment here  was  at  first  a  temporary  one,  for  six  months, 
during  which  time  he  retained  the  Boston  position;  but 
Dr.  Hodges  being  unable  to  resume  his  duties,  it  became 
permanent,  and  in  the  following  March  the  Boston  en- 
gagement was  given  up. 

Dr.  Cutler  commenced  duties  on  the  first  Sunday  in 
November,  1858.  The  organ  had  been  extensively  re- 
paired and  put  in  good  condition,  and  was  used  on  this 
day  for  the  first  time  after  the  renovation. 

The  choir  consisted  of  two  ladies,  ten  boys,  and  seven 
men;  the  organ  gallery,  where  they  sang,  was  inclosed 
by  curtains,  which  were  soon  after  removed.  The  two 
ladies,  Miss  Eager  and  Mrs.  Hutchings,  were  the  last 
who  sang  in  the  choir  of  Trinity,  and  they  remained  only 
a  few  months.  Henry  Eyre  Browne  was  the  leading  boy, 
and  all  the  boys  were  pupils  of  Dr.  Hodges  and  were  still 
taught  in  the  schoolroom  of  St.  John's  Chapel.  Some  of 
the  voices  were  in  a  fragile  condition,  and  the  process  of 
weeding  out  began  at  an  early  date.  No  solos  of  any 
kind  were  heard  for  nearly  three  months,  and  then  were 
confined  to  necessary  "  verse "  parts  in  Services ;  such 
parts  being  at  first  taken  by  Robjohn  and  H.  E.  Browne; 
the  first  actual  solo  was  sung  on  Easter  Day. 

Of  the  seven  men,  three  were  tenors,  Messrs.  Deane, 
Peck,   and   Dunn;   and   four   basses,    Messrs.    Granville, 


74 


Trinity  Church,  New  York 


Safford,  Browne,  and  J.  W.  Hill.  The  last  named  was 
a  volunteer;  all  the  others,  men,  women  and  boys,  re- 
ceived salaries  which  would  now  be  thought  small,  but 
for  that  time  might  be  called  moderate.  The  service  was 
not  choral,  and  the  Psalms  were  read;  on  this  Sunday 
the  music  consisted  of: 


Venite  and  Glorias 

.  Chant. 

Te  Deum  and  Jubilate 

.  Boyce,  in  A . 

Metrical  Psalm. 

Responses  to  Commandments    . 

.  Hodges,  in  F 

Gloria  before  Gospel 

U                 It 

Hymn. 

Sanctus     

!(                       (I 

Hymn. 

Gloria  en  Excelsis 

u                «« 

The  afternoon  music  consisted  of  Glorias  to  the  Psalms, 
two  Canticles  chanted,  a  metrical  Psalm  and  hymn.  This 
form  of  services  continued  until  Easter,  when  additions 
began  to  be  gradually  introduced.  On  Thanksgiving  Day 
the  service  was  similar  to  that  of  ordinary  Sundays — 
morning  prayer  and  ante-communion;  and  on  Christmas 
Day  there  was  no  addition,  except  that  there  was  a  cele- 
bration, with  the  ordinary  music.  At  a  burial  service  in 
November  a  small  choir  chanted  the  "  anthem,"  sang  a 
hymn,  and  "  I  heard  a  voice  "  (Hodges). 

Until  after  Christmas  Dr.  Cutler  made  no  move  ex- 
cept to  brighten  up  the  music  by  taking  it  in  a  quicker 
tempo;  and  this  was  received  with  some  disapproval. 
The  "  Kyries  "  were  changed  to  Hodges'  in  E  minor,  and 
these  were  sung  on  all  occasions  for  five  months.  The 
first  change  in  the  system  was  the  abolition  of  double 
chants,  which  had  been  exclusively  used  by  Dr.  Hodges, 


Choir  and  Music  75 

and  were  rather  high  in  pitch  for  the  boys  and  for  con- 
gregation ;  they  were  now  given  up,  and  the  "  Advent 
Psalter  "  taken  into  use.1  At  about  the  same  time  new 
books  of  tunes  for  Psalms  and  hymns  were  adopted; 
these  were  in  manuscript  and  compiled  by  Dr.  Cutler. 

The  boys  had  not  been  taught  to  produce  high  notes; 
Dr.  Cutler  speaks  of  difficulty  in  finding  boys  who  could 
sing  above  B,  third  line  of  staff;  from  this  and  other 
remarks  it  would  appear  that  they  sang  entirely  with 
"  chest  voice."  The  two  solo  boys,  Robjohn  and  Browne, 
sometimes  took  alto  parts  as  well  as  treble;  the  solo  on 
Easter  Day,  "  O  thou  that  tellest,"  a  contralto  solo,  was 
sung  by  Robjohn.  At  a  later  time,  when  more  elaborate 
anthems  were  sung,  there  was  difficulty  over  the  high 
notes,  which  were  generally  flat  or  "  cracked." 

On  the  evening  of  Epiphany,  1859,  there  was  a  spe- 
cial service,  at  which  the  full  choir  of  Trinity  was  assisted 
by  that  of  Trinity  Chapel,  directed  by  Dr.  Walter.  The 
church  was  lighted  throughout  for  the  first  time,  from 
which  it  appears  that  this  was  the  first  night  service  held 
in  the  church.  Dr.  Hodges'  Service  in  C  was  used  and 
accompanied  by  Dr.  Walter;  a  metrical  Psalm  and  hymn 
and  the  voluntaries  were  played  by  Dr.  Cutler. 

January  16th,  W.  J.  Robjohn  entered  the  choir,  tak- 
ing first  place,  and  receiving  a  much  higher  salary  than 
the  other  boys.  He  was  then  fifteen  years  old,  a  remark- 
ably good  reader  of  music,  and  unusually  intelligent;  I 
imagine  that  his  voice  was  good,  but  not  remarkable. 
The  following  Sunday  morning  Boyce's  "  verse "  Ser- 
vice in  A  was  sung;  the  first  new  composition  introduced 
by  Dr.  Cutler.     It  is  somewhat  difficult,  and  the  verse 

1  From  this  date,  single  chants  were  used  for  twenty-five  years,  and  then 
double  chants  came  to  the  front  again. 


76  Trinity  Church,  New  York 

parts  (concerted  passages  for  single  voices)  were  not 
quite  satisfactory. 

On  the  ist  of  February  the  boy  department  was  re- 
organized ;  some  of  the  seniors  were  dropped  out,  and  new 
ones  admitted.  Among  the  new  boys  was  Thomas  P. 
Browne;  and  in  the  new  list,  besides  the  brothers  H.  E. 
and  Thomas  P.  Browne,  I  find  Thomas  Brown,  J.  H. 
Brown,  and  Horatio  Browne,  besides  Mr.  Browne,  basso. 

Early  in  March,  Miss  Eager  retired  from  the  choir, 
leaving  only  one  lady,  who  was  notified  that  her  services 
would  shortly  be  dispensed  with.  The  removal  of  the 
choir  to  the  chancel  was  already  determined  upon,  but  a 
series  of  reconnaissances  were  made  before  the  fortress 
was  captured.  The  first  was  on  a  small  scale:  on  a  Sun- 
day afternoon,  when  service  was  over  and  most  of  the 
congregation  had  retired,  the  two  solo  boys  took  up  a 
position  outside  the  chancel,  and  there  sang  two  duets, 
accompanied  by  the  organ,  and  heard  by  thirty  or  forty 
people.  On  the  following  Sunday,  after  service,  a  sortie 
in  force  was  made,  the  entire  choir  moving  to  the  front 
of  the  chancel  and  singing  an  anthem.  This  advanced 
position  was  held  at  the  service  on  Ash  Wednesday,  which 
came  in  the  following  week.  Sunday,  the  choir  fell  back 
to  its  original  position  in  the  organ  gallery ;  but  the  after- 
noon advance  was  carried  further,  and  the  choir  rehearsed 
an  anthem  in  the  chancel  after  service.  This  advantage 
was  also  maintained,  for  on  the  following  Wednesday, 
March  18th,  the  service  music  was  sung  by  a  choir  in 
the  chancel  for  the  first  time;  the  choir  that  day  consist- 
ing of  seven  boys — Robjohn,  H.  E.  Browne,  H.  Browne, 
Miiller,  Terhune,  Maeder,  Ackerman — and  two  men — 
Messrs.  Browne  and  Hill.  In  this  way  the  week-day  ser- 
vices were  carried  on  until  Easter  Day,  when  the  choir 


Choir  and  Music  77 

was  permanently  installed  in  the  chancel,  choir  seats  and 
desks  having  been  provided,  and  the  last  vestige  of  the 
mixed  choir  disappeared.  At  first  the  boys  were  placed 
behind  the  men,  but  after  a  few  weeks  this  was  changed, 
and  the  boys  took  their  proper  position. 

These  Lenten  services,  on  Wednesdays  and  Fridays, 
were  of  a  special  form  and  began  at  12.15;  morning 
prayer  having  been  said  at  the  usual  hour  without  music. 
On  Ash  Wednesday  the  service  began  with  the  hymn, 
"  Saviour,  when  in  dust,"  the  first  two  lines  of  each 
stanza  as  a  solo  by  H.  E.  Browne,  followed  by  ante- 
communion,  and  after  the  Creed  an  anthem,  "  The  ways 
of  Zion  do  mourn,"  by  Dr.  Cutler,  duet  by  H.  E.  Browne 
and  Mr.  Deane.  The  accompaniments  were  played  on 
the  gallery  organ,  and  the  music  was  quite  successful; 
beyond  a  slight  tendency  to  flatten  when  the  accompani- 
ment was  light,  there  was  little  to  criticise.  Ordinarily 
these  services  consisted  of: 

Short  psalm,  or  part  of  psalm.       .       .  Chanted 

Litany. 

Anthem,  or  metrical  psalm. 

Lecture. 

Hymn. 

At  the  feast  of  the  Annunciation,  which  fell  on  a  Fri- 
day, service  began  with  the  Magnificat  from  King  in  F; 
in  the  ante-communion  the  Creed  from  the  same  Service 
was  sung,  the  intonation  by  Rev.  Dr.  Dix,  then  an  as- 
sistant Minister;  seven  verses  of  Psalm  34  chanted,  a 
lecture  by  Rev.  Dr.  Mahan,  and  a  hymn,  "  Father  of  all, 
whose  love  profound,"  concluded  the  service. 

On  the  Sundays  in  Lent  the  Benedicite  and  Bene- 
dictus  were  chanted ;  in  the  former,  the  first  half  of  every 


78  Trinity  Church,  New  York 

verse  as  a  solo  by  a  man  or  boy,  or  both  alternately.  For 
Good  Friday  a  cabinet  organ  was  placed  in  the  chancel, 
but  was  used  only  to  give  the  pitch;  the  choir  chanted 
Benedictus,  sang  Farrant's  anthem,  "  Lord,  for  Thy  ten- 
der mercies,"  and  a  metrical  Psalm,  without  accompani- 
ment, but  nothing  more  was  sung. 

Easter  Day,  1859,  the  choir  was  in  the  chancel;  the 
Psalms  were  chanted  for  the  first  time  on  a  Sunday;  a 
new  Service,  Cutler  in  D,  was  sung ;  and  an  anthem,  "  O 
Thou  that  tellest,"  solo  by  Robjohn.  Two  important 
points  were  now  gained:  with  a  choir  in  the  chancel, 
vestments  must  soon  follow ;  chanting  of  the  Psalms  natu- 
rally leads  to  choral  service.  In  our  case  the  latter  was 
reached  first;  but  before  Easter  the  question  of  vestments 
was  discussed  a  good  deal,  and  a  request  was  made  to 
the  Rector,  by  General  Dix,  that  the  choir  might  be  robed 
on  all  occasions  of  choral  service;  the  Rector  declined  to 
give  his  assent  then. 

On  this  Sunday  the  entire  choir  remained  through  the 
whole  service,  but  the  music  at  Holy  Communion  was 
apparently  not  worth  recording.  The  evening  service 
was  plain;  Psalms  read,  and  morning  anthem  repeated; 
three  weeks  later  the  evening  Psalms  were  also  chanted, 
and  the  practice  became  permanent.  The  anthem  was, 
for  a  time,  only  an  occasional  luxury ;  on  the  first  Sunday 
after  Easter  there  was  no  anthem,  but  in  the  afternoon 
the  Rev.  Dr.  Camp  intoned  the  prayers  after  the  Creed; 
"  the  result  was  that  the  choir  gradually  took  the  tone, 
and  at  last  a  full  and  sonorous  Amen  rang  through  the 
arches  of  old  Trinity."  On  the  following  Sunday  the 
responses  and  amens  in  the  Litany  were  choral;  the  Rev. 
Dr.  Smith  taking  his  part  in  monotone. 

Dr.  Hodges  was  in  town  about  this  time,  on  his  way 


Choir  and  Music  79 

to  England;  he  attended  two  services,  and  at  the  second 
visit,  May  226.,  played  part  of  the  service.  On  the  after- 
noon of  that  day  all  of  the  service  after  the  Creed  was 
choral,  the  responses  being  sung  for  the  first  time;  the 
Rev.  Dr.  Dix  intoned. 

The  service  on  Ascension  Day  was  as  on  Sundays, 
with  full  choir;  Psalms  chanted,  Te  Deum  and  Benedic- 
tus,  Cutler  in  D ;  anthem,  "  O  Lord  our  Governour " 
(Marcello);  and  Communion  Service,  Hodges  in  F,  as 
usual.  St.  Barnabas  Day,  and  all  holy  days  afterwards, 
there  was  a  small  choir  who  sang  a  plain  service,  partly 
choral. 

About  this  time  Robjohn  left  the  choir  and  went  to 
Elmira ;  he  was  much  missed,  his  skill  in  reading  and  taste 
in  singing  making  him  a  valuable  member  of  the  choir. 
H.  E.  Browne  took  first  place  again,  and  Master  Ogilvie 
comes  forward  as  an  occasional  soloist.  There  were  a 
number  of  new  boys,  the  most  important  being  C.  H. 
Ackerman,  Miron  Ward,  Morgan,  trebles,  and  A.  R. 
Walsh,  alto. 

Trinity  Sunday,  Te  Deum  and  Jubilate  were  chanted, 
and  the  first  movement  of  Bach's  motet,  "  Blessing, 
glory,"  was  a  new  anthem.  The  second  Sunday  after, 
there  was  an  ordination;  Service  was  King  in  C,  and 
anthem,  "How  beautiful  are  the  feet"  (Handel);  also 
new  music  in  the  Communion  Service,  arranged  by  Dr. 
Cutler. 

The  services  were  kept  up  at  the  usual  standard 
through  July  and  August,  with  the  exception  of  one  or 
two  Sundays  when  Dr.  Cutler  was  absent;  on  these  days 
the  music  was  quite  plain,  accompanied  by  Mr.  Browne 
on  the  cabinet  organ,  H.  E.  Browne  playing  voluntaries. 
The  Service  of  Gibbons  in  F  was  revived  in  July,  and 


80  Trinity  Church,  New  York 

there  was  a  new  anthem  in  August.  The  boys  were  re- 
lieved from  duty  the  first  two  weeks  in  August,  except 
four  or  five  who  remained,  on  double  pay. 

The  choir  on  first  Sunday  in  September  consisted  of 
10  trebles,  4  altos,  3  tenors,  and  5  basses;  the  largest 
number  so  far  seen  in  the  chancel.  Nothing  of  impor- 
tance occurred  from  this  date  to  the  end  of  October,  which 
closed  the  first  year  of  Dr.  Cutler's  administration.  A 
brief  review  of  the  year's  work  will  now  be  in  order. 

We  have  now  the  choir  established  in  the  chancel, 
though  in  secular  dress,  the  Psalms  chanted  always,  and 
parts  of  the  service  choral.  On  Saints'  days,  morning 
prayer  and  ante-communion  fully  choral,  generally  with 
full  choir.  Music  sung  during  the  year  comprised  ten 
morning  Services,  three  of  them  new — Boyce,  verse  Ser- 
vice in  A,  Cutler  in  D  and  in  Eb;  two  Communion  Ser- 
vices, and  fifteen  anthems,  probably  all  new,  and  about 
half  of  them  solo  anthems.  The  supply  of  capable  boys 
was  insufficient,  genuine  high  trebles  being  very  scarce; 
as  regards  men,  the  salaries  paid  were  not  sufficient  to 
attract  skilled  vocalists,  not  very  numerous  then. 

There  was  a  good  deal  of  opposition  to  all  the  changes 
made;  this  was  to  be  expected,  and  fortunately  the  sup- 
porters of  them  were  stronger.  The  Rector,  Dr.  Berrian, 
had  to  listen  to  both  sides,  and  was  naturally  cautious  in 
approving  any  change  in  the  mode  of  service ;  the  assistant 
clergy  at  Trinity,  Rev.  Drs.  Ogilby,  Dix,  and  Camp,  seem 
to  have  been  heartily  in  accord  with  the  organist. 


Choir  and  Music  8i 

XVII 
i 859- 1 860 

The  Te  Deum  of  Tallis,  in  D  minor,  was  produced  in 
November.  It  would  be  interesting  to  know  what  the 
congregation  thought  of  this,  the  earliest  Anglican  Ser- 
vice known,  in  a  mediaeval  mode,  dry  and  monotonous! 
It  was  sung  twice,  and  reproduced  at  a  later  period. 

Thanksgiving  Day,  the  music  was  quite  plain,  with- 
out Service  or  anthem,  though  the  full  choir  was  present. 
Advent  Sunday,  Dr.  Cutler's  anthem,  "  The  night  is  far 
spent,"  was  first  sung,  and  was  repeated  for  five  years 
on  that  day.  After  a  long  rest,  it  was  taken  up  again 
in  1890  for  regular  use;  in  the  intervening  years  Barn- 
by's  setting  of  the  same  words  took  its  place  eighteen 
times. 

On  the  second  Sunday  the  morning  service  was  "  full 
choral,"  and  this  now  became  the  regular  usage.  On  the 
following  Sunday,  at  beginning  of  service,  Dr.  Vinton 
requested  the  congregation  to  respond  "  in  unison  with 
organ  and  choir."  The  intoning  was  generally  at  a  low 
pitch,  D,  Eb,  or  E;  this  day  the  Litany  was  sung  on  D, 
three  notes  below  the  usual  pitch,  by  Rev.  Dr.  Vinton, 
who  had  just  been  transferred,  or  translated,  to  Trinity 
from  St.  Paul's  Chapel.  The  minister's  part  was  at  first 
monotoned,  but  a  few  weeks  after,  Dr.  Vinton  adopted 
the  inflections,  which  were  sometimes  a  little  erratic. 
Gloria  Patri  after  the  sermon  was  introduced  the  same 
day;  and  the  hymn  previously  sung  at  that  point  in  the 
afternoon  was  given  up.  On  Wednesdays  in  Advent 
there  was  choral  service  at  9  a.m.  by  a  small  choir,  some- 
times with  an  anthem. 


82  Trinity  Church,  New  York 

Before  Christmas  some  improvements  were  made  in 
the  chancel  arrangements;  the  clergy  desks  were  moved 
back  a  little,  giving  more  open  space  in  the  middle  of  the 
chancel;  new  seats,  etc.,  for  the  choir  were  not  finished 
until  February.  The  surplice  question  was  also  brought 
before  the  Vestry  in  December,  and  an  adverse  decision 
arrived  at;  the  inevitable  was  postponed  for  a  time.  A 
few  weeks  later  fifteen  boys'  surplices  were  presented  by 
Mr.  King  for  the  choir. 

W.  J.  Robjohn  returned  to  the  choir  in  time  for  the 
Christmas  Day  service,  in  which  he  sang  "  O  Thou  that 
tellest  "  in  his  best  manner.  The  service  began  with  a 
carol,  and  was  entirely  choral,  chiefly  on  D  and  Eb ;  Te 
Deum,  etc.,  Cutler  in  Eb.  Robjohn's  salary  was  $200, 
which  was  very  high  for  that  time,  the  largest  amount 
ever  paid  for  a  boy  so  far.  At  Epiphany  he  sang  "  Every 
valley,"  which  was  followed  by  the  chorus,  "  And  the 
glory,"  from  the  "  Messiah  " ;  Mr.  Deane,  the  tenor,  pro- 
tested, but  had  to  submit.  The  choir  numbered  twenty — 
S.  10,  A.  3,  T.  3,  B.  4;  among  the  altos  was  W.  C. 
Hubbard,  a  newcomer;  in  the  treble  ranks  was  James 
Hopkins,  prominent  afterwards,  but  then  a  new  boy  of 
doubtful  value. 

Lenten  services  were  nearly  the  same  as  in  the  pre- 
vious year;  "  De  profundis  "  was  chanted  after  sermon 
Wednesdays  and  Fridays,  and  there  was  sometimes  an 
anthem.  The  second  Sunday  in  Lent,  Robjohn  sang  for 
anthem  "  He  was  despised  " ;  and  it  is  stated  that,  owing 
to  a  long  sermon,  the  service  lasted  three  hours  and  five 
minutes,  though  there  was  no  Celebration.  The  Annun- 
ciation, which  fell  on  the  fifth  Sunday  in  Lent,  was  not 
noticed  (the  anthem  was  Allen  No.  10,  whatever  that 
may  be)  ;  but  there  were  new  and  handsome  candelabra 


Choir  and  Music  83 

affixed  to  the  choir  seats,  presumably  because  they  were 
just  ready,  and  without  special  reference  to  the  occasion. 
Another  application  was  made  to  the  Rector  for  permis- 
sion to  use  the  surplices ;  consent  was  not  given,  as  there 
was  still  much  opposition. 

On  Wednesday  in  Holy  Week  the  choir  for  the  first 
time  assembled  in  the  clergy  room,  and  walked  out  in 
order  to  their  places.  Miserere  was  chanted  on  this  and 
following  days,  including  Saturday  afternoon  after  the 
Confirmation.  This  service  was  not  recognized  as  "  first 
vespers  "  of  Easter  until  1878. 

Easter  Day  service  began  with  a  carol,  continuing 
with  Cutler  in  Eb,  and  for  anthem  "  But  Thou  didst  not 
leave,"  sung  by  Robjohn,  and  followed  by  the  chorus, 
"  Lift  up  your  heads."  Robjohn's  voice  was  by  this  time 
in  such  a  condition  that  he  was  moved  definitely  to  the 
alto  department,  and  treble  solos  are  no  more  heard  for 
a  considerable  time;  his  place  as  leader  was  taken  by 
Miron  Ward,  who  was  called  on  for  "  verse  "  parts.  Not 
long  after,  on  retirement  of  Mr.  Deane,  Robjohn  took 
his  place  as  Decani  Tenor. 

Ascension  Day,  i860,  there  was  a  good  service  at 
11  a.m.,  with  full  choir.  Clarke  in  G,  a  new  anthem  by 
Dr.  Cutler,  "  God  is  gone  up,"  a  new  Sanctus  by  the  same 
hand,  and  Gloria  in  Excelsis  to  the  old  chant,  were  sung. 
Whitsun  Day  the  anthem  was  "  Comfort  ye  "  and  "  Every 
valley,"  from  the  "  Messiah,"  without  chorus ;  these  were 
sung  by  Mr.  Gustavus  Geary,  a  tenor  lately  arrived  from 
Dublin.  In  the  afternoon  there  was  a  new  anthem,  "  For 
the  Lord  shall  comfort  Zion,"  part  of  a  long  anthem  by 
Boyce. 

June  24th,  a  new  Service,  Walter  in  C;  also  an  an- 
them,   "  Call   to   remembrance,"    composed   by    Robjohn, 


84 


Trinity  Church,  New  York 


which  is  described  as  a  creditable  composition  for  a  youth 
hardly  seventeen,  but,  as  might  be  expected,  rather  crude 
and  awkward  to  sing. 

Services  and  anthems  were  kept  up  during  the  sum- 
mer, except  for  four  weeks  when  Dr.  Cutler  was  absent; 
then  the  service  was  plain,  with  Mr.  Robjohn  in  charge 
of  the  choir  and  Mr.  S.  Mayer  at  the  organ,  though  Rob- 
john sometimes  played. 

September  23d,  the  Service  of  Aldrich  in  G  was  first 
heard;  this  is  good  music,  though  not  very  interesting, 
dating  from  about  1700,  fifty  years  before  Boyce;  the 
first  performance  was  not  quite  satisfactory.  The  fol- 
lowing Sunday  another  new  Service  was  given,  Cutler  in 
G;  also  a  new  anthem,  "  Seek  ye  the  Lord,"  by  William 
Mason;  this  was  sung  without  accompaniment,  and  is 
described  as  a  "  charming  production." 

We  come  now  to  the  interesting  event  of  the  intro- 
duction of  choir  vestments;  this  matter,  which  had  so 
long  been  agitating  the  minds  of  Vestry,  congregation, 
and  choir,  was  happily  settled  by  the  visit  of  the  Prince 
of  Wales.  When  His  Royal  Highness  notified  his  inten- 
tion of  attending  service  at  Trinity  Church,  it  was  deemed 
most  proper  that  the  service  should  be  carried  out  in  a 
manner  worthy  of  the  occasion,  which  certainly  called 
for  the  vestments  as  used  in  the  Church  of  England. 
To  prevent  any  possible  awkwardness  on  the  occasion, 
the  choir  wore  their  surplices  on  the  previous  Sunday, 
October  7th. 

As  this  was,  on  several  accounts,  a  memorable  day, 
it  will  be  interesting  to  have  on  record  the  service  list,  as 
well  as  the  "  personnel  "  of  the  choir — the  first  surpliced 
choir  of  Trinity  Church — which  are  therefore  appended: 


Choir  and  Music 


85 


19TH  Sunday  after  Trinity. — October  14,  i860 

Venite,  and  Psalms  for  the  Day Chants 

Te  Deum  and  Benedictus Cutler  in  E  flat 

Anthem. — "O  Lord  our  Governour"     ....  Marcello 

Hymn  154.    Verses  1,  4,  5. — "Before  Jehovah's  awful  throne." 
After  Sermon. — Gloria  in  Excelsis. 

The  choir  was  constituted  as  follows: 


Trebles 

Altos 

Miron  Ward 

H.  E.  Browne 

A.  R.  Walsh 

S.  Howard 

James  Little 

F.  C.  Maeder 

C.  H.  Ackerman 

W.  B.  Ogilvie 

Clark 

G.  Ward 

F.  Camp 

Powell 

H.  W.  Collins 

Tenors 

Basses 

W.  J.  Robjohn 

J.  W.  Hill 

H.  Congdon 

S.  Mayer 

Woodman 

Dr.  Guilmette 

Chase 

White 

Hall 

The  seven  solos  in  Marcello's  well-known  anthem  were 
divided  between  Little,  treble,  and  Dr.  Guilmette,  a  basso 
of  celebrity,  specially  engaged.  On  special  occasions  Dr. 
Vinton  always  insisted  upon  having  Gloria  in  Excelsis, 
after  the  sermon,  to  the  old  chant;  until  1870  it  was  so 
sung  every  Christmas  Day,  the  peroration  of  the  Doc- 
tor's sermon  always  leading  up  to  it. 

The  music  of  this  day  was  very  good,  especially  the 
anthem,  which  was  finely  performed;  admission  to  the 
church  was  by  ticket  only.  On  the  first  Sunday  when 
the  choir  was  vested,  two  reports  were  heard  during  the 
second  lesson,  and  a  musket  ball  fell  in  one  of  the  pews, 
without  hurting  anyone.  Whether  this  was  simply  an 
accident  or  a  hostile  demonstration  was  never  discovered. 

During  the  year  closing  with  this  month  the  new 


86  Trinity  Church,  New  York 

music  comprised  five  Services  and  seventeen  anthems — 
Handel,  3;  Cutler,  6;  and  8  various.  The  quartet  of 
soloists,  Little,  Hubbard,  Messrs.  Mayer  and  Hall,  was 
much  better  than  last  year's,  and  the  singing  generally 
more  correct  and  finished.  The  choir  seats  were  not 
full;  the  November  list  shows  8  trebles,  3  altos,  2  tenors, 
and  5  basses.  There  was  no  great  supply  of  boys,  but 
the  inferior  ones  were  persistently  weeded  out  and  only 
the  best  retained.  H.  E.  Browne  had  retired,  on  change 
of  voice,  and  the  leader  was  now  Howard,  with  Little 
at  the  head  of  the  Cantoris  side.  Robjohn  had  discon- 
tinued singing,  his  place  as  Decani  tenor  being  filled  by 
Mr.  S.  Mayer,  a  good  organist  as  well  as  fine  tenor 
singer;  he  was  afterwards  organist  of  a  church  in  San 
Francisco.     Mr.  Hill  also  retired  about  this  time. 


XVIII 
1860-1861 

Thanksgiving  Day  music  was  plain,  and  Benedicite 
used.  Second  Sunday  in  Advent,  the  anthem  was  the 
Magnificat  of  King  in  F,  morning  and  afternoon.  Christ- 
mas Day  service  began  with  the  "  bell "  carol ;  Service 
was  Boyce  in  A,  and  anthem  "  O  Thou  that  tellest,"  solo 
by  Hubbard. 

January  4,  1861,  the  "National  Fast"  was  observed 
with  service  at  eleven;  there  was  an  immense  congrega- 
tion, and  the  order  of  service  comprised  Morning  Prayer 
and  entire  Litany,  sermon,  selection  and  hymn.  Te  Deum 
and  Benedictus  were  chanted,  and  the  music  accompanied 
by  an  Alexandre  harmonium  in  the  chancel.     This  was 


Choir  and  Music  87 

used  also  at  week-day  services  in  Lent,  including  Ash 
Wednesday. 

Between  Christmas  and  Easter  the  number  of  boys  had 
been  gradually  increasing;  on  one  occasion  there  were  fif- 
teen in  the  chancel,  the  largest  number  so  far  recorded.  It 
was  found  necessary  to  place  some  responsible  person  in 
charge  of  them  when  Dr.  Cutler  was  at  the  large  organ; 
Mr.  Robjohn  took  charge  for  a  while,  and  at  his  departure 
Mr.  Congdon,  one  of  the  basses,  undertook  the  duty. 

Easter  Day  service  began  with  a  carol;  Service  was 
Walter  in  C;  anthem,  "  But  Thou  didst  not  leave  "  (Han- 
del), sung  by  Miron  Ward,  and  followed  by  Dr.  Cutler's 
anthem,  "  O  Jerusalem,  thou  that  bringest."  In  the 
afternoon  the  solo  was  omitted. 

The  Civil  War  was  just  beginning;  excitement  and 
enthusiasm  were  running  high,  and  the  choir  of  Trinity 
Church  had  to  give — or,  as  it  fortunately  happened,  to 
lend  only — some  of  its  members  for  service.  On  the 
19th  of  April  the  Seventh  Regiment  started  for  Washing- 
ton, having  in  its  ranks  Messrs.  Mayer  and  Congdon;  in 
two  months  they  had  returned  in  sound  condition.  Two 
other  men  followed  a  few  days  later  in  other  organiza- 
tions. On  the  2 1st  Major  Anderson  attended  service  at 
Trinity,  and  held  a  sort  of  reception  afterwards.  The 
war  excitement  extended  to  the  choir  boys,  one  of  whom 
left  home  with  the  intention  of  enlisting  as  a  drummer; 
he  was,  however,  induced  to  give  up  his  project. 

Three  funerals  with  choir  occurred  during  the  first 
week  in  May;  the  first  was  that  of  Peter  Erben,  aged 
ninety-two,  organist  of  Trinity  Church  from  1820  to 
1839.  At  this  service  the  choir  went  in  procession  to 
meet  the  body  at  the  porch.  The  second  was  for  a  Mr. 
Seamans;  the  third  that  of  Bishop  Onderdonk.    The  ser- 


88  Trinity  Church,  New  York 

vice  was  similar  at  all  three:  anthem  chanted,  hymn,  and 
"I  heard  a  voice"  (Cutler).  At  the  Bishop's  funeral 
there  was  also  a  sermon  by  Rev.  Dr.  Seabury. 

The  three  festivals  disclosed  nothing  new,  except  the 
"  Veni  Creator  "  for  anthem  on  Whitsun  Day,  sung  an- 
tiphonally  as  solo  and  chorus;  solos  by  Hopkins  and  Mr. 
G.  Aiken,  who  had  lately  joined  the  choir,  alternately. 
Little  had  retired,  and  Hopkins  was  coming  to  the  front 
as  treble  soloist.  The  Nicene  Creed  was  now  chanted  to 
the  8th  Tone  every  Sunday  morning.  Some  changes  in 
small  matters  of  arrangement  were  made  in  June;  the 
vestry  room  on  the  north  side  was  taken  into  use  for  the 
choir;  rooms  in  Rector  Street  were  secured  for  Sunday- 
school  and  choir  purposes,  and  the  boys'  lessons  were 
now  given  there.  Up  to  this  time  Sunday-school  had  been 
held  in  the  church,  and  choir  lessons  given  in  the  school- 
room of  St.  John's  Chapel. 

Services  and  anthems  were  kept  up  during  July  and 
August,  excepting  two  Sundays  when  Mr.  Mayer  was  in 
charge,  and  the  regular  organist  absent  on  vacation. 
The  third  Sunday  in  July  there  was  a  new  Service  and 
a  new  anthem;  the  music  this  day  was  excellent,  sung 
by  thirteen  boys  and  six  men,  nearly  the  whole  choir,  and 
the  church  was  full.  This  is  rather  different  from  the 
usage  of  later  years;  the  summer  months  could  not  have 
been  so  oppressive  thirty  years  ago  as  they  are  now,  and 
choir  vacations  not  so  necessary.  The  weather  was  re- 
corded as  pleasant  on  this  particular  Sunday;  the  Dean 
of  Montreal  was  present,  and  the  prayers  and  Litany 
were  intoned  by  Rev.  Dr.  Young  on  G.  The  low  pitch 
was  by  this  time  pretty  generally  given  up;  I  find  G,  G#, 
and  even  A  mentioned  as  the  intoning  note.  Practice 
and  experience  led  to  the  gradual  adoption  of  a  proper 


Choir  and  Music  89 

pitch  for  reciting,  and  there  was  no  longer  need  to  fear 
that  a  high  note  would  startle  the  congregation,  as  might 
have  been  the  case  at  first.  In  later  years  we  seem  to 
have  settled  upon  F  for  general  use;  as  the  pitch  of  the 
organ  has  been  raised,  this  would  be  about  equivalent  to 
the  F#  of  1861. 

The  last  week  in  August,  one  of  the  choir  boys,  H.  W. 
Collins,  died;  his  funeral  at  Trinity  Church  was  attended 
by  all  the  choir,  four  boys  serving  as  pallbearers.  After 
the  lesson,  the  last  part  of  the  Epistle  for  Holy  Innocents' 
Day  was  chanted ;  this  had  been  used  before  at  the  funeral 
of  a  son  of  Dr.  Vinton,  and  on  Holy  Innocents'  Day. 

In  September,  a  new  solo  boy,  N.  E.  Westfall,  was 
engaged;  he  was  sixteen  years  old,  and  sang  up  to  D 
in  alt  with  ease.  Westfall  remained  in  the  choir  four 
months,  singing  with  only  moderate  success.  September 
26th  there  was  a  "  National  Fast,"  observed  by  an  ordi- 
nary service;  Kempton  in  Bb  and  Farrant's  familiar 
anthem.  Choir  included  thirteen  boys  and  seven  men; 
the  church  was  crowded  and  the  music  fair. 

The  important  event  of  October  was  a  "  Union  of 
Choirs,"  which  took  place  on  the  16th  at  noon,  in  Trinity 
Church,  and  with  much  success.  It  was  intended  to  be 
private,  but  the  church  was  more  than  half  full.  The 
choirs  which  took  part,  represented  mostly  by  boys,  were : 

Trinity  Church,  New  York 
Trinity         "        Jersey  City 
Trinity         "        Hoboken . 
St.  George  "        Flushing  . 
St.  Andrew,  Providence,  R.  I. 

with  eight  tenors  and  basses  from  various  choirs,  making 
a  total  of  fifty-six  voices.     Most  of  the  music  was  sung 


14 

boys 

7 

u 

12 

a 

10 

<< 

5 

u 

90  Trinity  Church,  New  York 

by  Trinity  Church  choir  alone,  the  visiting  boys  joining 
only  in  the  simpler  pieces.  The  first  two  numbers  were 
sung  in  the  chancel;  then  the  choir  went  to  the  organ 
gallery  and  sang  three  pieces;  the  last  five  in  the  chancel 
again.  The  Rev.  Dr.  Ogilby  presided  and  opened  the 
proceedings  with  the  Lord's  Prayer  and  collects,  after 
which  this  programme  was  given,  Dr.  Ogilby  announcing 
each  piece: 

1.  Venite. — Anglican  chant. 

2.  Solo. — "  Comfort  ye  " Handel 

3.  Chorus. — "Hallelujah" Handel 

4.  Solo  and  Chorus. — "  Great  Dagon  "     .  Handel 

Solo  by  Powell. 

5.  Anthem. — "  Who  can  express  " Culler 

Solos  by  Westfall,  Messrs.  Mayer  and  Aiken. 

6.  Duet. — "  We  never  will  bow  down  "       ....    Handel 

Westfall  and  Howard. 

7.  Metrical  Selection. 

8.  Cantate. — Anglican  chant. 

9.  Hymn. 

10.  "Union  Hymn" C.  Jerome  Hopkins 

Solo  by  Mr.  G.  W.  Warren. 

The  constitution  of  this  programme  was  due  to  con- 
siderations of  expediency  and  convenience,  which  we  can- 
not justly  estimate  at  this  day.  Standard  Anglican  music 
was  represented  only  by  chants  and  hymn  tunes ;  and,  in 
a  degree,  by  Dr.  Cutler's  anthem,  which  is  of  that  school. 
Apart  from  this  question,  the  undertaking  was  a  most 
commendable  one,  and  made  such  a  favorable  impression 
that  many  requests  were  received  for  its  repetition. 

The  new  music  of  the  year  shows  four  Services,  three 
by  Dr.  Cutler ;  and  six  anthems,  four  of  them  also  by  the 
organist.     Dr.  Cutler's  compositions  were  well  suited  to 


Choir  and  Music  91 

the  times,  being  clear  in  design  and  free  from  such  in- 
tricacy as  would  confuse  listeners;  besides  being  good, 
both  in  method  and  workmanship.  They  were  doubtless 
also  appreciated  by  the  congregation,  or  they  would  not 
have  appeared  so  often. 


XIX 

1861-1862 

All  Saints'  Day  the  choir  visited  Annandale,  on  the 
invitation  of  Mr.  John  Bard,  and  sang  evening  service  at 
the  church  there;  Dr.  Vinton  intoning  the  prayers,  and 
preaching.  A  procession  was  formed  at  the  Sunday- 
school  rooms,  of  choir  in  surplices,  the  organist  in  a  black 
gown,  and  clergy.  The  service  was  fully  choral;  can- 
ticles were  chanted,  an  anthem  and  the  "  Hallelujah " 
chorus  sung.  A  supper  at  ten  o'clock  in  the  schoolhouse 
closed  the  proceedings. 

The  boys  "  cut  up  "  somewhat,  as  their  way  is  on  such 
occasions;  there  was  boating  the  next  day,  and  one  of 
them  fell  overboard,  but  was  fished  out  unharmed,  except 
as  to  his  clothes.  On  the  return  journey  Dr.  Cutler  was 
struck  in  the  face  by  a  marble  intended  for  some  one 
else;  a  great  hush  immediately  fell  upon  the  assembled 
company,  and  the  offender  had  a  practical  experience  of 
the  "  laying  on  of  hands." 

Thanksgiving  Day  service  was  good;  Benedicite  was 
chanted,  with  each  half  verse  as  a  solo.  Marcello's  an- 
them, the  solos  by  Howard  and  Mr.  Mayer.  Choir  sur- 
plices were  now  obligatory  in  the  chancel ;  on  St.  Thomas' 
Day  there  were  no  surplices  at  hand,  through  some  mis- 
understanding,   and   the    choir    was    posted    outside    the 


92  Trinity  Church,  New  York 

chancel.  A  plain  service  without  anthem  was  now  the 
rule  for  Saints'  days. 

Service  on  Christmas  Day  began  with  a  carol,  "  The 
Christmas  Tree,"  first  sung  the  day  before  at  the  chil- 
dren's service.  Kempton's  Service  was  used  and  anthem 
from  "  The  Messiah,"  consisting  of  Pastoral  Symphony 
played  on  the  organ,  the  three  recitatives,  "  There  were 
shepherds,"  etc.,  sung  by  Mr.  Mayer,  and  the  chorus  only 
of  "  O  Thou  that  tellest."  After  sermon  the  "  bell  "  carol 
was  sung,  Hopkins  taking  the  solos  in  both  carols.  The 
music  of  Communion  Service  is  seldom  mentioned  in  the 
records ;  it  was  probably  stereotyped  and  always  the  same. 
The  reed  organ  in  the  chancel  seems  to  have  become  a 
fixture;  on  this  day  it  was  played  by  Westfall,  whose 
high  treble  notes  had  vanished.  This  was  an  interesting 
and  appropriate  service,  though  rather  long;  Dr.  Cutler's 
two  carols  are  gems,  and  with  the  sweet  voice  of  Hop- 
kins must  have  charmed  everyone. 

Holy  Innocents'  Day  the  anthem  was  "  He  shall  feed 
His  flock,"  sung  by  Mr.  Mayer,  and  the  second  part  by 
Hopkins.  After  service,  the  whole  choir,  with  the  clergy, 
dined  at  the  old  Stevens  House,  and  Mr.  Congdon,  who 
ruled  the  boys  in  Dr.  Cutler's  absence,  was  presented  by 
them  with  a  photograph  album,  suitably  inscribed.  After 
dinner  the  party  adjourned  to  the  choir  rooms,  and  there 
was  much  singing,  solo  and  chorus,  sacred  and  secular. 

The  first  Sunday  in  February  the  congregation  had 
to  digest  a  new  Service,  new  anthem,  and  new  Sanctus; 
in  the  afternoon  there  was  an  unusually  large  choir,  four- 
teen boys  and  nine  men.  The  attendance,  both  of  boys 
and  men,  seems  to  have  been  rather  irregular,  in  spite 
of  a  system  of  fines,  and  changes  were  frequent.  There 
was,  of  course,  a  certain  number  of  capable  and  reliable 


Choir  and  Music  93 

boys,  and  all  must  have  attended  rehearsals;  otherwise  it 
would  be  hard  to  understand  how  the  music  was  kept  up, 
especially  if  there  were  many  new  things,  as  at  this  time. 
The  following  Sunday  there  was  again  a  new  anthem. 

Washington's  Birthday  was  this  year  observed  with 
a  special  service ;  Dr.  Vinton  read  the  "  Farewell  Ad- 
dress " ;  Nares'  Te  Deum  was  sung,  but  no  anthem.  The 
church  was  crowded  to  excess,  even  the  approaches  being 
blockaded. 

Lent  services  were  about  as  usual;  on  one  of  the  Fri- 
days Boyce's  anthem,  "  By  the  waters,"  was  sung.  On 
the  27th  of  March  the  choir,  with  Drs.  Vinton  and  Far- 
rington,  visited  the  city  islands,  and  sang  a  full  service 
in  the  Insane  Asylum;  afterwards  they  sang  in  the  Alms 
Chapel  and  in  the  Hospital.  The  sixth  Sunday  in  Lent 
was  observed  as  a  day  of  thanksgiving  for  national  vic- 
tories; the  only  change  made  in  the  service  was  in  sing- 
ing Te  Deum  instead  of  Benedicite;  the  anthem  was  of 
a  Lenten  character,  but  the  offertory  was  for  benefit  of 
the  wounded,  etc. 

Easter  Day  service  was  begun  with  the  hymn  "  Christ 
the  Lord  is  risen  to-day,"  as  a  solo  by  two  boys  in  turn, 
to  the  tune  "  Worgan,"  the  chorus  singing  only  the 
"  Hallelujah  "  at  end  of  each  line;  there  was  nothing  else 
new.  The  next  Sunday,  Tallis'  responses  at  beginning 
of  the  service  were  introduced;  previously  some  form  of 
plain  song  had  been  used,  probably  the  "  Troy  use."  The 
responses  after  the  Creed  continued  to  be  plain  song  for 
many  years. 

Fourth  Sunday  after  Easter  the  music  was  specially 
interesting,  and  the  choir  surpassed  all  previous  efforts; 
Handel's  "  Hallelujah "  was  the  morning  anthem,  and 
the  afternoon   Whitfeld's   "  Behold  how   good  and  joy- 


94  Trinity  Church,  New  York 

ful."  Tallis'  Te  Deum  was  also  sung,  and  by  all  voices 
in  unison;  this  was,  so  far  as  I  know,  a  novel  experiment, 
and  has  a  good  deal  to  recommend  it;  the  vocal  parts  run 
very  low  and  are  not  interesting. 

On  the  four  next  Sundays  the  evening  Canticles  were 
sung  to  a  "  Service,"  Cutler  in  D ;  but  the  practice  was 
then  given  up,  and  plain  chants  resumed.  On  one  of 
these  Sundays  Theodore  Toedt  was  first  heard  in  a  treble 
solo  part;  he  had  been  in  the  choir  only  a  month,  and 
must  have  shown  marked  ability.  Later  he  became  a 
prominent  soloist,  and  was  one  of  the  brilliant  class  of 
boys  in  1864. 

Ascension  Day,  Tallis'  Service  was  sung  and  the 
"Hallelujah"  chorus;  in  the  evening  the  choir  sang  a 
choral  service  at  Grace  Church,  Orange,  N.  J.,  with  Cut- 
ler in  D,  and  the  "  Hallelujah."  The  music  at  Saints' 
day  services  was  discontinued  this  summer,  funds  being 
insufficient;  after  about  nine  months  an  increase  in  the 
music  appropriation  permitted  its  resumption.  In  the 
summer  months  Dr.  Cutler  was  absent  for  three  Sundays, 
and  his  place  was  taken  by  Mr.  Clark;  there  were  no 
anthems  used. 

September  6th,  the  funeral  of  General  Kearney  was 
held  at  Trinity  Church,  which  was  crowded  with  people 
who  had  to  wait  an  hour  and  a  half  before  the  funeral 
procession  arrived.  After  the  lesson,  Mendelssohn's 
"  Happy  and  blest "  was  sung  without  organ ;  it  was 
"  not  very  well  rendered,"  and  no  other  result  could  be 
expected,  as  the  accompaniments  are  absolutely  necessary 
for  any  proper  rendering.  Boyce's  anthem,  "  O  where 
shall  wisdom  be  found,"  was  sung  this  month,  but  large 
"  cuts  "  were  made  in  it. 

Wednesday,  October  8th,  was  appointed  as  a  "  Day 


Choir  and  Music  95 

of  fasting  and  humiliation  " ;  a  full  choir  was  present  at 
the  service,  which  was  thus  ordered: 

De  profundis  ;  instead  of  Venite. 
Psalms,  read;  last  Gloria  chanted. 

Te  Deum  and  Benedictus Chants 

Metrical  Selection. — "Thy  chastening  wrath." 
Hymn. — "  Dread  Jehovah." 

The  congregation  joined  heartily  in  the  two  last;  there 
was  no  sermon. 

The  new  work  of  the  year  shows  three  Services  and 
eight  anthems;  including  three  selections  from  Handel, 
one  Service  and  one  anthem  by  Dr.  Cutler,  the  others  by 
various  composers.  The  choir  was  not  altogether  satis- 
factory; with  regard  to  boys,  the  old  trouble  remained, 
a  deficiency  of  high  voices,  with  a  preponderance  of  altos. 
On  the  last  Sunday  of  October  there  were  six  altos 
against  nine  trebles,  and  among  the  altos  were  Grandin 
and  Jameson.  The  treble  leaders  were  S.  Howard  and 
C.  O'Reilly;  supporting  them  were  Hopkins,  G.  Ward, 
Toedt,  etc.  Two  of  the  four  tenors,  Ackerman  and  Hub- 
bard, had  passed  from  the  treble,  through  the  alto,  not 
so  very  long  before;  the  other  tenors  were  Messrs.  Farr 
and  Meiggs;  the  basses  were  Messrs.  White,  Congdon, 
Stanley  Jones,  and  Frisbee. 


96  Trinity  Church,  New  York 

XX 

1862-1863 

The  choir,  accompanied  by  the  organ  at  the  other  end 
of  the  church,  could  not,  and  did  not,  keep  up  to  pitch; 
the  complaints  of  flat  singing  were  continuous.  At  the 
period  now  under  discussion  the  trouble  seems  to  have 
been  at  its  worst.  On  the  first  Sunday  in  November  the 
organ  had  to  stop  in  the  Psalms,  as  the  choir  was  so  flat ; 
and  the  almost  incredible  statement  is  made  that  a  hymn 
tune,  started  in  G,  had  gone  down  to  D  when  the  Dox- 
ology  was  reached !  The  cabinet  organ  could  not  be  used 
with  the  other,  as  the  pitch  differed;  some  five  months 
later  it  was  tuned  down  to  agree  with  the  large  organ, 
and  this  afforded  much  relief.  Dr.  Cutler  was  inces- 
santly urging  the  necessity  for  a  chancel  organ,  but  an- 
other year  passed  before  the  matter  was  even  considered 
officially.  In  the  meantime,  and  especially  in  October, 
1862,  he  was  in  despair,  and  came  to  the  determination 
to  use  no  more  Services  or  anthems  until  some  remedy 
was  provided.  This  determination  lasted  two  weeks,  as 
regards  anthems;  on  the  third  Sunday  in  November  we 
have  again  a  duet,  "  badly  out  of  tune  " ;  but  things  were 
beginning  to  mend;  on  Advent  Sunday  there  was  an 
"  excellent  service "  with  an  anthem,  but  all  Canticles 
chanted.  Services  were  not  taken  up  again  until  the  end 
of  January. 

On  the  first  Sunday  in  November  there  was  in  the 
choir  a  new  boy,  lately  arrived  from  Berlin,  where  he 
had  been  a  member  of  the  famous  "  Dom-chor  ";  he  could 
speak  little,  if  any,  English;  nevertheless  we  have  him 
two   weeks   later    singing   the   duet   "  I   waited    for    the 


Choir  and  Music  97 

Lord  "  with  Hopkins.  This  boy  was  Emil  Ehrlich,  and 
his  presence  had  evidently  much  to  do  with  the  speedy 
revival  of  anthems. 

A  few  days  later,  November  7th,  occurred  the  death 
of  the  Rector,  Dr.  Berrian.  The  burial  service  was  held 
on  Monday,  the  10th,  at  3  p.m.  The  choir  proceeded 
first  to  the  chancel,  where  there  was  a  long  wait;  they 
then  went  down  to  meet  the  body  at  the  door,  followed 
by  the  Vestry  and  Clergy,  while  Mr.  Clark  played  a  vol- 
untary. The  sentences,  "  Man  that  is  born "  and  "  I 
heard  a  voice,"  were  sung  to  the  Service  of  Cutler  in  G 
minor,  which  was  then  first  used.  These,  with  the  "  an- 
them," were  accompanied  by  Dr.  Cutler  on  the  cabinet 
organ,  the  large  organ  being  used  only  for  the  opening 
voluntary.  There  was  no  voluntary  at  the  close,  so  the 
procession  must  have  moved  down  the  church  in  silence. 

The  Rev.  Morgan  Dix  was  at  once  elected  Rector, 
and  a  new  era  began  for  Trinity  Church  and  its  music. 
The  Service  of  Institution  was  held  on  Saturday  the 
29th  at  11  a.m.,  ending  at  2.30.  The  choir  was  the 
largest  so  far  seen  in  the  chancel,  and  numbered  twenty- 
seven — eleven  trebles,  six  altos,  three  tenors,  and  seven 
basses.  Te  Deum  and  Benedictus  were  chanted,  and  an 
anthem  was  sung,  all  with  good  effect.  After  service,  the 
Clergy  and  choir  partook  of  a  collation  at  the  Sunday- 
school  rooms. 

After  an  interval  of  fourteen  months,  a  "  Union  of 
Choirs  "  was  again  held  in  Trinity  Church,  December 
1 8th,  at  noon.  The  home  choir  was  reenforced  by  thir- 
teen boys  from  St.  George's  Church,  Flushing,  L.  I.,  and 
some  few  boys  and  men  from  other  quarters,  making  a 
total  force  of  forty-six  voices — twenty  trebles,  eight  altos, 
five  tenors,  and  thirteen  basses.     The  programmes  were 


98  Trinity  Church,  New  York 

marked  "  private,"  and  the  church  gates  were  closed  from 
twelve  to  one,  by  permission  of  the  Rector;  but  about 
four  hundred  listeners  were  present.  The  singers  occu- 
pied the  five  or  six  pews  on  either  side,  nearest  the  organ, 
and  all  solos  were  sung  in  the  gallery.  Here  is  the  pro- 
gramme : 

i.  Venite. — Chant. 

2.  Solo. — "Waft  her,  angels" Handel 

Mr.  Mayer. 

3.  Hymn. — Tune,  "Christmas." 

4.  Solo  and  Chorus. — "O  thou  that  tellest"      .       .       .    Handel 

S.  Howard. 

5.  Solo. — "Let  the  bright  Seraphim" Handel 

J.  Hopkins. 

6.  Trio. — "Lift  thine  eyes" Mendelssohn 

Ehrlich,  Hopkins  and  Howard. 

7.  Chorus.— "Hallelujah" Handel 

The  trio  was  much  admired,  and  pronounced  the  gem  of 
the  occasion.  Beyond  this  it  was  quite  a  Handel  Fes- 
tival on  a  small  scale,  even  the  hymn  tune  being  an  adap- 
tation from  Handel. 

Christmas  Day  service  lasted  just  three  hours;  the 
music  comprised  the  "  bell  "  carol,  Te  Deum,  Walter  in 
C,  and  "  O  Thou  that  tellest,"  without  solo.  The  church 
was  so  crowded  that  the  organist  could  not  get  in  until 
the  carol,  played  by  the  assistant,  was  half  over. 

The  choir  festival  took  place  January  nth,  and  con- 
sisted of  a  short  service  at  3  p.m.,  with  a  solo  by  Hopkins, 
followed  by  a  dinner,  attended  by  Clergy,  choir,  and  a 
few  visitors.  There  was  much  fun  at,  or  after,  the  din- 
ner; Dr.  Cutler  being  called  upon  for  a  song,  made  a 
speech  instead;  in  which,  after  thanking  the  Rector  and 
Clergy  for  their  support,  he  hinted  at  certain  "  facilities  " 


Choir  and  Music  99 

needed  to  make  the  choir  a  model  institution.  Speeches 
were  made  also  by  Dr.  Vinton,  Bishop  Southgate,  and 
Mr.  Aiken;  the  latter  creating  much  merriment  by  sug- 
gesting some  connection  between  the  absence  of  one  of  the 
choir  men  and  the  presence  on  the  "  menu  "  of  "  Boiled 
Bass."  The  boys  presented  the  Rector  with  an  album 
containing  portraits  of  all  of  them  who  had  sung  at  his 
institution,  and  were  in  return  gratified  by  the  promise  of 
a  new  set  of  surplices. 

The  next  month,  February,  1863,  a  substantial  in- 
crease was  made  to  the  appropriation  for  music,  which 
had  stood  at  $1,500  per  annum  for  twenty-five  years.  It 
was  now  doubled,  with  the  understanding  that  choral 
services  on  Saints'  days  were  to  be  resumed  and  kept  up. 
The  new  surplices  also  were  worn  on  Ash  Wednesday. 
Mr.  Robjohn  was  now  assistant  organist,  and  usually 
played  the  cabinet  organ,  taking  a  good  deal  of  the  ac- 
companiments, as  the  large  organ  was  used  very  spar- 
ingly in  Services  or  anthems. 

Easter  Day  the  Service  was  Cutler  in  E  minor;  the 
anthem,  "  I  know  that  my  Redeemer  liveth,"  sung  by 
Ehrlich,  with  the  quartets  and  choruses  following;  the 
quartets  were  taken  by  Hopkins,  Grandin,  Messrs.  Jones 
and  Giles,  the  latter  recently  engaged  as  principal  bass. 
The  singing  generally  was  not  up  to  the  usual  standard. 

April  30th,  a  "  National  Fast,"  there  were  services 
morning  and  afternoon ;  the  first  with  "  De  prof undis  " 
in  place  of  Venite,  and  anthem;  and  "Miserere"  at  the 
second. 

Ascension  Day,  the  choir  was  increased  by  eighteen 
boys  from  Flushing  and  several  outside  men,  making  a 
total  of  thirty-four  boys  and  sixteen  men.  There  were 
double  rows  of  boys  in  the  chancel,  and  the  cabinet  organ 


ioo  Trinity  Church,  New  York 

was  placed  outside.  The  Psalms  were  chanted  by  the 
home  choir,  all  joining  in  the  Glorias.  Service  was  Nares 
in  F,  and  anthem,  "  God  is  gone  up  "  (Cutler),  preceded 
by  a  new  solo,  "  Who  shall  not  fear  Thee,"  sung  by  Mr. 
Mayer;  there  was  also  a  new  Sanctus. 

The  "  Bradford  commemoration,"  on  May  20th,  was 
the  occasion  of  a  special  service  in  the  Churchyard,  con- 
ducted by  the  Rector,  with  a  choir  of  twenty-eight  voices 
— fourteen  boys  and  fourteen  men.  The  choir  sang  a 
plain  evening  service  in  the  church  at  3  p.m.,  and  thence 
proceeded  to  the  graveyard;  being  ranged  in  three  lines 
on  the  stone  flagging,  with  backs  to  the  church.  The 
music  here  consisted  of  Versicles  and  Responses,  Psalm 
112  chanted,  and  a  hymn.  Travel  on  Broadway  was 
suspended,  and  the  entire  proceedings  were  orderly  and 
solemn.  The  boys  taking  part  were  Hopkins,  Toedt, 
Ehrlich,  G.  Ward,  McMillan,  Watson,  Jameson,  Krackell, 
French,  and  Kohn,  trebles;  Grandin,  Powell,  C.  O'Reilly, 
and  Thomas,  altos;  the  tenors  were  Messrs.  Mayer,  Rob- 
john,  Ackerman,  Jones,  Farr,  and  Meigs;  the  basses, 
Messrs.  White,  Browne,  Woodman,  Neeves,  Tasney, 
Brown,  Congdon,  and  Aiken. 

In  the  summer  the  music  was  pretty  well  kept  up, 
Mr.  Robjohn  directing  whenever  Dr.  Cutler  was  absent. 
A  "  National  Thanksgiving "  occurred  on  August  6th, 
with  Mr.  Robjohn  in  charge;  the  music  used  was  familiar. 

Nothing  important  occurred  before  the  end  of  Oc- 
tober, when  Dr.  Cutler's  fifth  year  closed.  There  is  evi- 
dence that  the  singing  had  improved  since  the  beginning 
of  the  year;  the  constant  use  of  the  reed  organ  in  the 
chancel  contributing  materially  to  this  result,  though  the 
services  of  Mr.  Robjohn  as  assistant  organist  had  been 
dispensed  with  since  the  first  of  September.     The  com- 


Choir  and  Music  ioi 

plaints  of  flat  singing  have  ceased,  and  there  are  occa- 
sional notices  of  fine  singing  in  the  anthems.  The  trebles, 
if  not  numerous,  were  good;  the  latest  newcomer  being 
George  O'Reilly;  his  older  brother,  successively  treble 
and  alto,  was  now  singing  tenor.  Two  distinguished 
Divines  of  the  present  day,  Rev.  Canon  Knowles  and 
Rev.  T.  McKee  Brown,  were  in  1863  volunteer  basses. 
There  was  little  new  music  introduced  during  the  year, 
four  anthems  being  all  that  I  can  find. 


XXI 

1863-1864 

The  Vestry  had  taken  into  consideration  this  autumn 
the  question  of  moving  the  organ,  or  providing  some 
satisfactory  accompaniment  for  the  choir;  and  a  com- 
mittee had  been  appointed  to  confer  with  the  organist 
and  decide  upon  the  best  plan.  The  idea  of  moving  the 
organ  from  the  gallery  and  placing  it  in  two  divisions 
near  the  chancel  was  for  a  time  in  favor;  it  is  a  matter 
for  regret  that  it  was  not  carried  out.  In  January,  how- 
ever, the  Vestry  decided  in  favor  of  a  new  organ,  and 
the  committee  was  empowered  to  obtain  proposals  and 
estimates.  In  the  following  September  preparatory  work 
was  begun  in  the  chancel,  and  by  December  1st  the  organ 
was  ready  for  use. 

At  the  children's  service  on  Christmas  Eve,  1863,  the 
entire  church  was  lighted  with  gas  for  the  first  time. 
The  anthem  on  Christmas  Day  was  an  adaptation  by 
Lowell  Mason  of  the  Gloria  in  Mozart's  Twelfth  Mass; 
this  was  the  first  piece  in  the  "  Boston  Academy's  Col- 


102 


Trinity  Church,  New  York 


lection  of  Choruses,"  which  was  then  taken  into  use  for 
the  choir.  The  few  numbers  from  this  volume  occasion- 
ally used  as  anthems  became  immensely  popular;  and 
twenty-five  years  later  requests  for  their  revival  were  not 
uncommon.  The  Mozart  number  introduced  this  Christ- 
mas was  "  immensely  admired,  and  produced  a  greater 
impression  than  any  anthem  previously  sung " ;  a  fact 
which  Dr.  Cutler  records  without  much  evidence  of  sat- 
isfaction. 

After  evening  service  on  Holy  Innocents'  Day,  the 
annual  dinner  came  off,  enlivened  as  usual  by  speeches 
and  songs.  Dr.  Cutler's  address  alluded  to  his  "  organic  " 
disease,  the  consultations  which  had  been  held,  and  the 
prospects  for  the  application  of  the  desired  remedy,  which 
he  promised  to  celebrate  by  a  performance  of  Jackson 
in  F.  Master  Hopkins  proposed  the  'ealth  of  Mr.  H'Ack- 
royd,  who  responded  by  a  few  strictures  on  the  be'avior 
of  the  boys,  which  he  described  as  "  going  on  from  bad 
to  worse,"  amid  shouts  of  laughter.  Mr.  Ackroyd  had 
been  for  some  time  supervisor  of  the  boys,  and  marched 
with  stately  mien  at  the  head  of  the  choir  procession.  He 
was  a  very  serious  personage,  and  magnified  his  office 
with  about  250  pounds  of  avoirdupois. 

The  following  Sunday  Righini's  florid  composition, 
set  to  the  words  "  The  Lord  is  great,"  was  first  sung, 
and  was  "generally  very  much  admired:  its  performance 
was  respectable."  The  choir  was  composed  of  ten  boys 
and  ten  men. 

Easter  Day  service  began  with  a  hymn,  sung  partly 
as  solo;  Nares  in  F  and  selection  from  the  "Messiah," 
with  solo,  "  I  know,"  etc.,  by  Hopkins,  made  up  the  list. 
There  was  an  immense  crowd,  and  the  service  lasted 
three  and  a  half  hours.    On  the  fourth  Sunday  there  was 


Choir  and  Music  103 

a  curious  anthem,  namely,  the  air,  "  O  rest  in  the  Lord," 
from  Elijah,  sung  by  all  the  boys  in  unison;  the  effect 
was  said  to  be  good.  Ascension  Day,  an  ordinary  serv- 
ice with  the  "  Hallelujah  "  chorus,  preceded  by  a  solo 
for  anthem;  Whitsunday,  service  of  the  same  kind. 

Trinity  Sunday,  1864,  was  notable  chiefly  for  the  first 
appearance  in  the  choir  of  Richard  Coker,  who  on  that 
day  sang  the  solo  half  verses  in  the  Benedicite;  the  solo 
part  in  the  anthem,  "  Holy,  Holy,"  from  Elijah,  being 
assigned  to  Hopkins.  Coker,  who  was  a  Brooklyn  boy, 
had  been  singing  with  Wood's  Minstrels,  where  he  was 
known  as  Master  Wood;  "his  voice  was  superb,  enun- 
ciation good,  and  he  succeeded  respectably  in  his  solo  " ; 
he  was,  however,  an  indifferent  reader  of  music.  Master 
Coker  did  not  take  kindly  to  Church  music,  and  after  he 
had  sung  for  three  Sundays,  without  any  more  solos,  his 
services  were  dispensed  with.  Six  weeks  later  he  was 
recalled,  and  then  remained  permanently.  The  recall  was 
probably  due  to  the  fact  that  Hopkins'  voice  was  failing 
to  such  an  extent  that  early  in  June  he  had  to  retire  from 
the  choir.  Hopkins  met  with  a  sad  fate,  being  killed,  only 
four  months  after,  by  the  accidental  discharge  of  a  gun 
in  his  own  hand;  he  was  an  amiable  and  interesting  lad, 
and  a  special  protege  of  Dr.  Cutler. 

On  the  first  Sunday  after  Trinity  the  "  Trinity 
Psalter  "  was  taken  into  use.  This  book  was  compiled 
by  Dr.  Cutler  especially  for  the  use  of  Trinity  Church, 
and  was  used  there  until  1870.  It  was  enriched  by  an 
interesting  and  eloquent  introduction  from  the  pen  of  the 
Rev.  Dr.  Dix;  and  in  its  compilation  some  use  was  made 
of  a  previous  publication,  the  "  Advent  Psalter  "  (Bos- 
ton) ;  the  chants  were  mostly,  but  not  entirely,  single. 

The  boy  force  was  changing  a  good  deal  at  this  time; 


104  Trinity  Church,  New  York 

several  seniors  had  dropped  out,  but  recruits  were  com- 
ing in  fast.  The  entire  class  numbered  twenty-two;  of 
the  newcomers,  Knowles,  Ellard,  and  Edward  Ehrlich 
were  afterwards  prominent.  During  the  occasional  ab- 
sences of  Dr.  Cutler  in  the  summer,  his  place  was  taken 
first  by  Mr.  Mayer  and  afterwards  by  Mr.  Diller,  whose 
playing  gave  great  satisfaction. 

The  first  week  in  October,  at  Christ  Church,  Read- 
ing, Pa.,  a  lecture  was  given  by  the  Rev.  Dr.  Vinton, 
with  musical  illustrations  by  our  choir,  reenforced  by  a 
few  outside  men  and  boys.  The  singers,  fifteen  boys  and 
seven  men,  entered  the  church  in  procession,  wearing 
surplices,  and  a  few  collects  with  choral  aniens  preceded 
the  lecture.  There  were  solos  by  Coker,  Messrs.  Mayer 
and  Aiken. 

About  a  dozen  new  anthems  were  introduced  during 
the  year  ending  November  i,  1864;  no  new  Services. 
On  nearly  half  of  the  Sundays  in  this  year  the  morning 
Canticles  were  chanted,  the  evening  Canticles  always. 
Six  of  the  new  anthems  were  selections  from  "  Elijah," 
the  others  by  various  composers,  one  only  being  English. 
In  the  autumn,  Mr.  Weeks  was  engaged  as  principal 
tenor,  and  solos  for  that  voice  were  occasionally  heard; 
the  solo  quartet  was  a  very  good  one,  consisting  of  Coker, 
Grandin,  Messrs.  Weeks  and  Woodman. 

Thanksgiving  Day  music  included  Kempton's  Service 
and  Marcello's  anthem.  A  curious  conflict  of  authority 
occurred  with  regard  to  this  service:  the  Bishop  of  the 
Diocese  directed  that  the  Litany  and  Psalms  104,  145 
should  be  used;  the  Parish  authorities  held  that  the  form 
laid  down  in  the  Prayer  Book  could  not  be  changed,  and 
it  was  therefore  followed  throughout.  St.  Andrew's  Day 
a  plain  service  was  sung  by  nine  boys  and  one  man,  with- 


Choir  and  Music  105 

out  organ,  Dr.  Cutler  being  disabled  by  rheumatism;  the 
small  choir  got  through  its  work  very  well. 

The  new  Chancel  organ  was  now  completed  and  was 
inaugurated  by  a  Choral  Festival,  in  which  several  promi- 
nent organists  took  part,  and  the  choir  was  increased  to 
one  hundred  voices.  The  first  performance  took  place 
on  Wednesday,  December  7th,  at  noon;  Thursday  even- 
ing the  same  programme  was  given,  and  the  crowd  was 
so  great  that  the  gates  had  to  be  closed  before  the  music 
began,  although  the  price  of  tickets  was  one  dollar.  To 
meet  the  general  demand  a  third  performance  was  given 
on  Friday  evening,  which  was  again  attended  by  a  large 
audience.  The  published  programme  contained  a  syn- 
opsis of  the  commentaries,  historical  and  descriptive, 
which  were  delivered  by  the  Rev.  Dr.  Vinton  from  the 
pulpit,  between  the  musical  numbers.  The  list  of  vocal 
and  instrumental  pieces  is  of  sufficient  interest  for  pres- 
ervation, and  was  as  follows : 


PART   I 

1.  Cant  ate Gregorian  chant 

All  voices  in  unison,  without  accompaniment. 

2.  German  Chorale Luther 

3.  The  Angel  Trio Mendelssohn 

Masters  Coker,  Ehrlich  and  Grandin. 

4.  Anglican  Hymn. 

5.  Psalm  74,  8  verses Anglican  chant 

6.  Organ  Solo. — "Israel  in  Egypt"  ....    Handel 

Mr.  George  W.  Morgan. 

7.  Organ  Fantasia  (On  a  Carol  by  Rev.  J.  H.  Hopkins.)     Culler 

Dr.  Cutler. 

8.  Solo  and  Chorus. — "O  thou  that  tellest"    .       .       .    Handel 

Master  Grandin. 


106  Trinity  Church,  New  York 

9.  Duet. — "Hail,  Judaea" Handel 

Masters  Toedt  and  Jameson. 

10.  Solo. — "Total  eclipse" Handel 

Mr.  Samuel  D.  Mayer. 

11.  Solo. — "I  know  that  my  Redeemer  liveth"   .       .       .    Handel 

Master  Ehrlich. 

12.  Luther's  Hymn. 

Accompanied  by  Mr.  S.  P.  Taylor,  the  oldest  organist  in  the  country. 

PART  II 

1.  Solo. — "Sound  an  alarm" Handel 

Mr.  George  L.  Weeks,  junior. 

2.  Solo. — "Hear  ye,  Israel" Mendelssohn 

Master  Richard  Coker. 

3.  Air. — "Now  heaven  in  fullest  glory"      ....     Haydn 

Mr.  George  E.  Aiken. 

4.  Gloria  (1st  movement),  3rd  Mass Haydn 

Solos  by  Masters  Coker,  Grandin,  Messrs.  Weeks  and  Giles. 

5.  Organ  Solo. — Offertoire L.  Wely 

Mr.  George  W.  Morgan. 

6.  Quartette. — "O  come,  every  one"        .       .       .   Mendelssohn 

Masters  Coker,  Grandin,  Messrs.  Mayer  and  Giles. 

7.  Organ  Solo. — Toccata  in  F Bach 

Mr.  Charles  J.  Hopkins. 

8.  Chorus.— "Hallelujah" Handel 

Of  the  eighteen  numbers,  fourteen  were  German  and 
one  American;  English  Church  music  being  represented 
by  one  stanza  of  a  hymn  and  a  short  Psalm  to  an  Angli- 
can chant.  All  the  singers  were  in  surplices;  the  boys 
on  a  platform  outside  the  chancel,  which  was  filled  with 
men. 

With  two  organs,  a  second  permanent  organist  became 
a  necessity,  and  Mr.  W.  A.  M.  Diller  was  engaged  to 
play  the  large  organ,  beginning  on  the  following  Sunday, 


Choir  and  Music  107 

December  nth.  Dr.  Cutler  assumed  the  more  important 
post,  at  the  chancel  organ,  where  he  could  now  efficiently 
direct  and  support  the  choir. 


XXII 
1864-1865 

Christmas  Day  service  began  with  the  "  bell  "  carol, 
solo  by  Coker,  and  continued  with  Kempton  in  Bb  and 
anthem,  "  Comfort  ye,"  with  the  air  and  chorus  follow- 
ing, from  the  "  Messiah  " ;  Mr.  Weeks  taking  the  solos. 
A  larger  force  of  boys  was  now  employed ;  on  the  Sunday 
after  Christmas  there  were  twenty-seven  in  the  chancel; 
a  brilliant  party,  too,  including  Coker,  Ehrlich,  Ellard, 
Knowles,  Watson,  Toedt,  Weir,  Coombe,  G.  O'Reilly,  etc. ; 
with  Grandin,  Jameson,  and  two  other  altos.  Against 
this  force  were  two  tenors  and  two  basses,  who  must  have 
had  to  work  hard.  Mr.  Weeks  had  a  powerful  voice,  and 
could  be  trusted  to  make  himself  heard  under  any  cir- 
cumstances; the  basses  doubtless  put  themselves  in  evi- 
dence on  the  high  notes.  The  second  Sunday  in  Lent 
there  were  twenty-six  boys  and  five  men  in  choir,  and 
several  absent.  The  anthem  this  day  was  an  abridged 
version  of  "  I  waited  for  the  Lord  "  (Mendelssohn) ;  the 
duet  sung  by  Coker  and  Ehrlich,  and,  strange  to  say, 
"  not  very  well  sung."  On  the  fourth  Sunday  the  prac- 
tice was  begun  of  singing  an  offertory  sentence  at  the 
presentation  of  alms. 

National  and  political  excitement  was  high  at  this 
time;  important  events  succeeded  each  other  closely,  and 
were  reflected  in  the  services  at  Trinity  Church.     The 


108  Trinity  Church,  New  York 

Civil  War  was  now  ended,  and  its  victorious  termination 
by  the  National  forces  was  celebrated  by  a  service  on  the 
nth  of  April,  at  one  o'clock,  after  the  regular  service  of 
Holy  Week.     The  order  was  as  follows: 

Sentence. — "The  Lord  is  in  His  holy  temple." 

The  Beatitudes. 

Collects. 

Te  Deum Clarke  in  A 

Address,  by  Rev.  Dr.  Vinton. 
Gloria  in  Excelsis. 
Benediction,  by  the  Rector. 

The  choir  of  twenty  boys  and  fifteen  men  included  some 
volunteers  from  other  churches,  and  although  there  was 
no  opportunity  for  rehearsal,  the  music  was  given  in  a 
very  creditable  manner.  Dr.  Cutler  presided  at  the 
Chancel  organ,  and  Mr.  Diller  played  on  the  great  organ 
after  service  the  "  Hallelujah  "  chorus  and  patriotic  airs. 
The  following  day,  Wednesday,  the  burial  service  of 
General  Winthrop  was  sung  by  a  choir  of  about  the  same 
strength  at  5  p.m.  On  Friday  occurred  the  assassination 
of  President  Lincoln,  on  which  account  "  De  profundis  " 
was  substituted  for  "  Miserere  "  at  Easter  Even  services. 
Wednesday  of  the  next  week,  April  19th,  a  Memorial 
service  was  held  for  the  late  President,  which  was  thus 
arranged : 

"I  am  the  Resurrection"     ....         Cutler  in  G  minor 

Litany,  entire. 

Burial  "Anthem." 

After  Lesson. — "Happy  and  blest"     ....  Mendelssohn 

Prayers. 

Sermon,  by  Rev.  Dr.  Vinton. 

"Man  that  is  born"  (read). 

"I  heard  a  voice" Culler 


Choir  and  Music  109 

Although  the  term  "  processional  "  had  not  then  come 
into  use,  the  opening  sentences,  "  I  am  the  Resurrec- 
tion," etc.,  were  sung  by  four  boys,  Coker,  Ehrlich,  Toedt, 
and  Grandin,  as  the  choir  passed  from  vestry  to  chancel. 

The  next  day,  April  20th,  was  a  "  State  Fast,"  and 
was  observed  by  a  service  comprising  morning  prayer, 
entire  Litany,  anthem  as  on  previous  day,  and  sermon 
by  the  Rector ;  service  began  with  "  De  prof undis  "  and 
closed  with  "  Miserere  " ;  there  was  a  full  choir,  with 
additions. 

Having  noticed  the  series  of  national  observances,  we 
return  to  the  service  of  Easter  Day,  1865,  when  there 
was  a  "  superb  choir  "  of  forty-one  voices — twenty-nine 
boys  and  twelve  men — the  largest  Sunday  choir  up  to 
that  time,  or  indeed  since  then.  Te  Deum  was  Boyce 
in  A,  with  chanted  Benedictus;  the  anthem  from  the 
"  Messiah,"  "  But  Thou  didst  not  leave,"  sung  by  Coker, 
and  "  Hallelujah  "  chorus.  The  principal  boys  have  been 
named ;  among  the  tenors  were  Messrs.  Weeks,  Widdows, 
Hubbard,  etc. ;  of  the  basses,  Messrs.  Congdon,  J.  W.  Hill, 
Browne,  Hardenburgh,  etc. 

This  service,  with  its  array  of  trained  boys  and  skilled 
men  singers,  was  the  climax  of  the  organist's  work  at 
Trinity  Church;  it  was  also  virtually  the  finale.  Dr. 
Cutler  officiated  for  two  more  Sundays,  and  on  the  1st 
of  May  started  on  a  concert  tour,  taking  with  him 
Masters  Coker  and  Ellard  and  Mr.  Weeks,  of  the  Trin- 
ity choir,  with  other  professional  assistance,  leaving  the 
Church  services  in  the  hands  of  Mr.  Diller. 

The  matter  of  his  absence  was  laid  before  the  Rector 
and  Vestry;  and  although  he  returned  to  New  York  at 
the  end  of  May,  he  did  not  again  serve  at  Trinity  Church, 
and  his  engagement  was  formally  terminated  by  the  Ves- 


1 10  Trinity  Church,  New  York 

try,  June  30th,  "  for  absence  without  leave,"  Mr.  Diller 
being  appointed  to  succeed  him. 

The  temptation  for  concertizing  was  great ;  Coker  was 
an  attraction;  the  concerts  brought  in  much  money,  and 
Dr.  Cutler  was  therefore  ready  to  risk  the  continuance 
of  his  engagement  as  organist.  His  salary  as  organist 
was  not  large,  and  the  demands  were  at  times  heavy,  as 
in  Holy  Week  just  passed,  with  the  numerous  special 
services.  On  the  other  hand,  the  authorities  naturally 
considered  that  they  had  the  first  claim  on  the  organist's 
services,  and  that  the  Church  work  was  being  neglected. 
It  appears  too  that,  the  last  week  in  April,  the  entire 
choir  had  been  taken  to  Philadelphia  for  concert  pur- 
poses, leaving  no  provision  for  St.  Mark's  day.  The 
severe  action  of  the  Vestry  was  probably  unexpected; 
one  cannot  say  that  it  was  unjust,  but  it  would  seem 
proper  that,  if  the  exclusive  services  of  a  professional 
man  of  skill  and  experience  are  desired,  ample  compensa- 
tion should  be  made  for  them. 

The  permanent  results  of  Dr.  Cutler's  administra- 
tion, vested  choir  and  choral  service,  constitute  no  small 
achievement.  For  these,  now  generally  accepted  as  the 
normal  and  proper  material  and  method  for  conducting 
Divine  service,  due  credit  should  be  given  to  the  man  who 
sustained  the  struggle  and  persistent  effort  necessary  for 
their  introduction.  The  foundation  was  well  and  truly 
laid  by  Dr.  Hodges;  his  successor  built  up  the  edifice  in 
a  substantial  and  finished  style  to  the  first  story.  There 
was  left  ample  work  for  later  hands  in  completing  the 
structure,  and  there  was  not  much  delay  in  carrying  it 
out.  Dr.  Cutler's  removal  caused  a  temporary  check,  but 
in  a  very  few  years  we  had  the  Holy  Communion  cele- 
brated with  all  the  resources  of  modern  religious  art;  the 


Choir  and  Music  hi 

morning  service  much  elaborated,  and  the  evening  serv- 
ice on  the  same  level.  There  yet  remains  to  be  hoped 
for,  the  daily  choral  service,  with  the  necessary  permanent 
choir  organization,  especially  for  boys. 

Dr.  Cutler  made  large  use  of  his  own  compositions, 
of  which  seven  Services  and  twenty-two  anthems  were 
sung  during  the  six  and  a  half  years  of  his  rule.  Most 
of  these  were  composed  with  special  reference  to  existing 
conditions,  in  regard  to  capability  of  choir  and  taste  of 
hearers.  Modeled  mostly  on  English  Cathedral  music  of 
the  eighteenth  century,  they  have  a  good  deal  of  modern 
feeling  in  harmony  and  melody.  In  addition  to  these,  the 
Te  Deums  used,  sometimes  with  a  second  canticle,  were 
by  Tallis,  Gibbons,  Rogers,  J.  Clarke,  Aldrich,  Kempton, 
King,  Boyce,  Nares;  with  Walter  and  Monk,  composers 
then  living.  Of  the  anthems,  there  were  seven  of  Handel, 
eight  of  Mendelssohn,  seven  standard  English,  and  seven- 
teen various,  the  latter  ranging  from  Bach  to  Flotow ;  one 
specimen  of  the  last  named  being  introduced  for  the  dis- 
play of  Master  Coker. 

The  execution  of  this  music  varied  in  quality,  good, 
bad,  and  indifferent;  in  the  last  year  or  two  there  was 
undoubtedly  some  very  fine  work  done.  The  increase  of 
appropriation  in  1863  provided  better  material,  both  of 
men  and  boys.  The  points  apparently  open  to  criticism 
were  a  want  of  balance  in  the  voices  and  the  frequent 
changes  in  the  choir. 

Of  the  boys,  Robjohn  (Caryl  Florio),  Henry  Eyre 
Browne,  Miron  Ward,  and  Toedt  now  occupy  prominent 
places  in  the  musical  world;  Coker  went  abroad  for  study 
and  remained  there.  He  was  the  most  finished  and  highly 
trained  singer  of  the  party;  the  most  sympathetic  and 
touching  voice  was  that  of  Emil  Ehrlich,  while  Robjohn 


U2  Trinity  Church,  New  York 

is    conceded    to    have    had    the    finest    musical    organi- 
zation. 

Dr.  Cutler  received  his  "  degree "  from  Columbia 
College  in  1864;  after  leaving  Trinity  he  served  as  or- 
ganist in  several  New  York  churches — St.  Alban's,  Holy 
Trinity,  Zion,  and  Christ  Church,  and  later  at  St.  Paul's 
Church,  Troy,  N.  Y. 


XXIII 
1865-1866 

William  Augustus  Muhlenberg  Diller,  son  of  the  late 
Rev.  Dr.  Diller,  of  Brooklyn,  was  born  in  1836,  and  was 
named  after  his  godfather,  the  Rev.  Dr.  Muhlenberg. 
He  had  great  natural  talent  for  music,  but  was  entirely 
self  taught;  he  began  playing  the  organ  in  church  at  the 
early  age  of  twelve  years;  and  from  that  date  until  his 
death,  in  1880,  never  passed  a  Sunday  without  playing 
the  service  at  one  or  other  of  the  churches  with  which 
he  was  from  time  to  time  connected.  Without  being  a 
great  player,  he  handled  the  organ  with  much  skill,  and 
often  produced  fine  effects  in  his  accompaniments.  His 
ability  as  an  organist  attracted  the  attention  of  Dr. 
Cutler,  who  secured  his  services  as  assistant;  and  this 
naturally  led  to  his  appointment  on  the  retirement  of  his 
former  chief. 

Mr.  Diller  held  the  position  for  a  year,  following  the 
same  methods  and  system  as  his  predecessor.  His  solo 
boy  at  first  was  Emil  Ehrlich,  one  of  Dr.  Cutler's  best 
pupils,  whose  voice  was  said  to  have  tears  in  it.  Ehrlich 
was  followed  by  John  Summers,  an  English  boy  who  had 


W.   A.    M.    DILLER, 

Organist  and  Choirmaster, 
1865— 1866. 


Choir  and  Music  113 

been  trained  in  one  of  the  cathedrals.  Summers  was  a 
big,  broad-chested  boy,  with  a  good  ringing  voice,  but 
he  was  subject  to  yearly  attacks  of  St.  Vitus'  Dance, 
which  lasted  for  a  month  or  more,  and  during  these 
attacks  he  was  quite  helpless. 

Mr.  Diller  produced  Mendelssohn's  motet,  "  Hear  my 
prayer,"  the  solo  part  sung  by  Summers;  and  he  com- 
posed, among  other  things,  a  Te  Deum  and  Jubilate, 
which  were  sung  at  Trinity  Church.  He  drew  up  the 
specification  of  a  new  organ  for  St.  Luke's  Church, 
Brooklyn,  which  was  built  in  this  year,  and  was  opened 
with  a  successful  and  brilliant  service  by  the  choir  of 
Trinity  Church,  Mr.  G.  Aiken  singing  the  bass  solos. 
Mr.  Diller  used  to  entertain  the  choir  boys  once  a  month 
at  his  house,  with  an  evening  of  games,  charades,  and 
refreshments.  This  helped  to  keep  up  their  interest  in 
the  choir  work,  as  they  received  only  small  amounts  in 
payment  for  their  services. 

Mr.  Diller  was  engaged  in  mercantile  business,  and  his 
health  gave  way  under  the  double  strain  of  this  combined 
with  necessary  choir  work;  it  was  therefore  proposed  to 
appoint  an  assistant,  who  should  undertake  the  work  of 
training  the  boys,  while  Mr.  Diller  retained  the  general 
direction  of  the  music.  The  conditions  of  the  proposed 
appointment  were  not  generally  understood;  and  the 
writer  of  this,  who  was  looking  for  an  engagement,  made 
application  for  it.  As  he  was  not  willing  to  accept  a 
subordinate  position,  there  was  some  negotiation,  and 
finally  Mr.  Diller  concluded  to  resign.  The  writer  was 
then  provisionally  appointed  by  the  Rector,  and  com- 
menced duty  at  the  large  organ  on  the  1st  of  May,  1866. 
On  the  nth  of  June,  St.  Barnabas'  Day,  his  appointment 
was  confirmed  by  the  Vestry;  and   from   that  date  he 


ii4  Trinity  Church,  New  York 

assumed  direction  of  the  music.  Mr.  Diller  remained  for 
a  short  time,  officiating  at  the  large  organ;  and  was  suc- 
ceeded in  February,  1867,  by  Mr.  E.  M.  Bowman. 

Edward  Morris  Bowman,  born  in  1848  at  Barnard, 
Vt,  though  a  very  young  man  when  he  came  to  us,  dis- 
charged his  duties  at  the  great  organ  most  acceptably  for 
a  year.  He  afterwards  visited  Europe,  studying  under 
the  best  masters  in  Berlin,  Paris,  and  London,  where  he 
became  an  Associate  of  the  Royal  College  of  Organists. 
Returning  to  this  country,  was  for  eight  successive  years 
President  of  the  American  College  of  Musicians  and  for 
four  years  Professor  of  Music  at  Vassar  College;  has 
composed  much,  and  published  valuable  theoretical  works, 
and  has  in  many  ways  distinguished  himself. 

Arthur  Henry  Messiter,  born  in  1834  at  Frome  Sel- 
wood,  Somersetshire,  England,  took  up  the  study  of  music 
at  the  age  of  seventeen;  was  articled  for  four  years  to 
Charles  McKorkell,  of  Northampton,  England,  a  musi- 
cian of  talent  and  high  local  reputation,  graduate  of  the 
Royal  Academy  of  Music  and  a  pupil  of  Moscheles. 
Afterwards  took  a  short  course  of  piano  lessons  with 
Herr  Derffel,  an  Austrian  pianist  of  some  celebrity,  and 
in  singing  with  Signor  Arigotti.  Devoted  himself  chiefly 
to  teaching  the  piano,  and  came  to  this  country  in  1863; 
sang  for  a  short  time  as  volunteer  tenor  in  the  choir  of 
Trinity  Church,  and  was  then  appointed  organist  of  St. 
Mark's  Church,  Philadelphia.  Remaining  there  only  a 
few  months,  his  next  appointment  was  as  Professor  of 
Music  at  the  Female  College  in  Poultney,  Vt.  After  one 
term  there,  returned  to  Philadelphia,  was  organist  suc- 
cessively at  St.  Paul's,  Calvary  Chapel,  and  St.  James  the 
Less,  and  came  to  New  York  in  the  early  part  of  the  year 
1866.    In  the  year  1887  received  the  honorary  degree  of 


EDWARD    MORRIS    BOWMAN, 

Assistant  Organist, 
1867— 1868. 


Choir  and  Music  115 

Doctor  of  Music  from  St.  Stephen's  College,  Annan- 
dale,  N.  Y. 

On  the  subject  of  my  appointment  at  Trinity  Church 
a  New  York  musical  paper  remarked :  "  We  hear  that 
the  authorities  of  Trinity  Church  have  appointed  an  or- 
ganist from  Philadelphia.  We  suppose  that  at  the  next 
vacancy  they  will  try  Coney  Island." 

Philadelphia  in  1866  had  no  vested  choir;  the  church 
organs  were  poor,  and  the  quartet  choirs  sang  the  weak- 
est kind  of  music.  Twenty-five  years  have  made  a  great 
difference  in  these  matters ;  and  the  Philadelphia  churches 
are  fast  falling  into  line,  with  modern  organs,  vested 
choirs,  and  a  better  class  of  music. 

At  the  time  of  my  appointment  at  Trinity  Church  the 
choir  consisted  of  twenty-one  members — twelve  trebles, 
four  altos,  two  tenors,  and  three  basses.  The  trebles 
were  fairly  good,  the  principals  being  Summers,  men- 
tioned above,  and  E.  Knowles;  the  altos,  a  remnant  of 
Dr.  Cutler's  choir,  efficient  and  strong;  so  much  so. as  to 
overbalance  the  other  departments.  The  principal  alto, 
Cullen  P.  Grandin,  had  an  exceptionally  fine  voice;  and 
his  solos  were  always  a  prominent  feature.  The  tenors 
were  Messrs.  Hubbard  and  Jackson ;  basses,  Messrs.  Yat- 
man,  Tucker,  and  Bostwick.  The  combined  singing  was 
very  poor — ill-balanced,  rough,  and  slovenly;  and  consid- 
erable time  elapsed  before  a  much  better  result  was  ob- 
tained. Loose  surplices,  of  the  cathedral  pattern,  were 
worn  by  the  choir,  without  cassocks. 

The  services  were  choral,  much  the  same  as  at  the 
present  time ;  but  there  were  no  processionals  or  Offertory 
anthems.  The  morning  service  ended  with  the  Prayer 
for  the  Church  Militant,  except  on  the  first  Sunday  of 
the  month,  when  there  was  a  celebration  of  the   Holy 


n6  Trinity  Church,  New  York 

Communion;  on  these  occasions  the  Sanctus,  Eucharistic 
Hymn,  and  Gloria  in  Excelsis  (old  chant)  were  sung. 
The  Litany  was  sung  at  the  officiating  minister's  ordinary 
desk  in  the  choir.  At  the  afternoon  service  the  Canticles 
were  chanted  and  the  morning  anthem  repeated.  The 
Saints'  day  services,  also  choral,  consisted  of  Morning 
Prayer  and  Antecommunion ;  the  Te  Deum  and  Jubilate 
being  chanted,  and  a  short  anthem  generally  sung. 

No  musical  Hymnal  had  yet  been  adopted ;  the  author- 
ized metrical  "  Selections  "  and  Hymns  were  bound  up 
with  the  Prayer  Books,  and  the  tunes  for  the  choir  were 
in  manuscript.  The  metrical  Selections  were  a  revised 
edition  of  Tate  and  Brady's  "  New  Version  " ;  so  called 
in  the  English  Church  to  distinguish  it  from  the  "  Old 
Version  "  of  Sternhold  and  Hopkins.  A  printed  official 
list  was  followed  at  all  services. 

There  was  no  choir  library;  each  previous  organist 
had  provided  his  own  music,  and  taken  it  with  him  on 
leaving;  so  that  only  a  few  anthems  could  be  found  for 
use,  and  copies  of  Service  music  had  to  be  borrowed 
until  fresh  music  could  be  prepared.  That  is  now  all 
changed;  a  yearly  appropriation  is  made  by  the  Vestry 
for  the  purchase  of  music,  and  the  accumulations  of 
thirty  years  form  quite  an  extensive  and  varied  collection. 

XXIV 

1866-1867 

The  music  of  Trinity  Church  in  June,  1866,  was  at  a 
low  point:  the  improvement  came  gradually  and  slowly. 
At  first  there  was  nothing  well  done;  the  record  of  my 
first  Sunday  says:  "  Psalms  poor,  Te  Deum  bad,  Litany 


Choir  and  Music  117 

bad,  Kyrie  bad,  with  no  anthem."  In  the  afternoon, 
Clarke- Whitfeld's  anthem,  "  Behold  how  good  and  joy- 
ful," was  sung.  The  Te  Deum  was  Diller  in  C,  which 
had  been  in  previous  use:  on  my  first  Sunday  it  is  re- 
corded as  bad;  on  the  second,  indifferent;  on  the  third, 
good.  On  the  fifth  Sunday  we  produced  a  new  Te  Deum, 
Ouseley  in  G,  which  is  pronounced  good  at  the  second 
performance:  which  goes  to  show  that  after  five  weeks 
the  choir  were  pulling  a  little  better  together.  This  Te 
Deum,  with  Jubilate,  was  sung  on  nine  consecutive  Sun- 
days: after  which  Calkin  in  D  had  a  run  of  eleven  per- 
formances. 

On  Sunday,  June  24th,  there  was  a  special  evening 
service,  at  which  Dr.  Walter  and  the  Trinity  Chapel  boys 
assisted.  At  this  service  the  Magnificat  was  sung  to 
King  in  F;  the  anthem  was  "In  Jewry"  (Whitfeld), 
with  the  "  Hallelujah  "  chorus  after  the  sermon.  This 
service  was  probably  on  behalf  of  Columbia  College. 

On  the  1 2th  of  August  Queen  Emma  of  Hawaii 
attended  the  morning  service  at  Trinity  Church,  the  visit 
attracting  a  crowd  of  the  curious  and  causing  much  ex- 
citement. At  Dr.  Vinton's  request  the  anthem  sung  at 
the  Prince  of  Wales'  visit  was  given,  "  O  Lord  our  Gov- 
ernor," by  Marcello.  This  simple  little  anthem  is  from 
"  Paraphrases  of  the  first  fifty  Psalms,"  by  B.  Marcello, 
published  at  Venice  in  1724  with  Italian  words;  a  few 
others  have  been  published  with  English  words.  The 
melodies  of  these  pieces  are  expressive,  but  the  harmonies 
commonplace:  they  are  feeble  products  of  a  feeble  period. 

Queen  Emma  was  a  good  churchwoman  and  strong 
supporter  of  the  Anglican  Church  in  Honolulu;  and  at 
the  close  of  the  service  the  clergy  presented  Her  Majesty 
with  a  prayer  book,  as  a  memorial  of  the  visit. 


n8  Trinity  Church,  New  York 

At  this  period  we  used  to  chant,  at  the  Offertory,  two 
verses  of  Psalm  50,  "  Offer  unto  God  thanksgiving,"  with 
Gloria  Patri;  and  on  the  first  Sunday  of  each  month  the 
Nicene  Creed  was  sung  in  the  morning  service,  either  to 
Merbecke's  setting  or  to  the  8th  Tone. 

On  All  Saints'  Day  processional  hymns  were  used  for 
the  first  time,  and  continued  in  regular  use  afterwards. 
From  the  first,  the  processionals  were  from  "  Hymns  An- 
cient and  Modern,"  and  were  changed  only  with  the  sea- 
son. "  O  come,  all  ye  faithful  "  and  "  From  lands  that  see 
the  sun  arise "  were  sung  throughout  Christmas  and 
Epiphany  seasons,  morning  and  afternoon.  On  Ash 
Wednesday,  and  a  few  special  occasions,  a  Psalm  from 
the  Psalter  was  chanted  as  processional ;  and  on  the  Feast 
of  the  Annunciation  the  Magnificat  was  chanted  to  a 
Gregorian  Tone  for  recessional.  This  was  not  a  very 
dignified  position  for  that  Hymn,  but  the  point  to  be 
gained  in  those  days  was  to  get  it  in  somewhere ;  the  fol- 
lowing year,  at  the  same  Festival,  it  was  promoted  to  the 
Offertory,  where  it  remained  until  1881,  fourteen  years. 
The  same  mode  of  using  processionals  was  continued  the 
next  year,  but  in  1869  a  little  more  variety  was  introduced. 

The  service  on  Christmas  Day  did  not  differ  from 
that  of  ordinary  Sundays,  except  that  there  was  another 
little  innovation  in  the  shape  of  "  Nunc  Dimittis  "  at  the 
close  of  Communion  service.  Gloria  in  Excelsis  was  still 
sung  to  the  "  old  chant,"  although  the  Gloria  of  Mozart's 
1 2th  Mass  was  sung  after  the  sermon.  The  anthem 
consisted  of  selections  from  "  The  Messiah,"  with  solos 
by  Grandin  and  Summers.  The  entire  programme  of  this 
day  is  worth  preserving  as  a  landmark. 


Choir  and  Music  119 

CHRISTMAS  DAY,   1866 

Processional. — "O  come,  all  ye  faithful." 
Proper  Psalms. 

Te  Deum  and  Jubilate Boyce  in  C 

Nicene  Creed Merbecke 

Anthem.— "O  thou  that  tellest"       ") 

"There  were  shepherds"  V Handel 

"Glory  to  God"  J 

After  Sermon. — Gloria  from  12th  Mass      ....     Mozart 

Kyrle  and  Sanctus Best 

Gloria  en  Excelsis Old  chant 

Nunc  Dimittis Parisian  Tone 

Recessional. — "  From  lands  that  see  the  sun  arise." 

Afternoon  service 

Proper  Psalms  and  Canticles Chants 

Processionals  and  Anthem,  as  in  the  morning. 

We  had  at  this  time  an  excellent  English  tenor,  Ar- 
thur Matthison;  a  gentleman  of  considerable  ability  and 
reputation,  literary  as  well  as  musical,  and  a  finished 
singer.  Mr.  Matthison,  however,  engaged  himself  to  sing 
in  an  oratorio  at  Washington  on  this  Christmas  Day :  we 
had  to  do  as  we  could  without  him,  and  his  engagement 
here  was  summarily  ended.  From  this  date  there  was  a 
celebration  of  Holy  Communion  on  every  Sunday  and 
Holy  day. 

Washington's  birthday  was  commemorated  with  Morn- 
ing Prayer,  Antecommunion,  and  the  "  Farewell  Ad- 
dress." Righini's  anthem,  "  The  Lord  is  great,"  was 
sung,  and  the  inevitable  Gloria  from  the  12th  Mass;  the 
singing  is  recorded  as  very  bad. 

Between  this  date  and  Easter  several  good  solo  an- 
thems were  sung;  among  them  Wesley's  "Praise  thou 


120  Trinity  Church,  New  York 

the  Lord"  and  Whitfeld's  "Hear,  O  thou  Shepherd." 
In  Holy  Week  there  was  service  every  day,  consisting 
of  processionals,  psalter,  Gregorian  canticles,  hymn,  and 
sermon;  on  Good  Friday  the  same  order,  with  the  addi- 
tion of  Litany  and  Antecommunion,  and  Gounod's  motet, 
"  O  day  of  penitence,"  after  the  sermon.  The  motet  was 
not  at  all  a  success,  being  beyond  the  powers  of  the  choir 
at  that  time. 

Easter  Day  was  notable  only  for  the  introduction  of 
an  Offertory  anthem  and  Tallis'  responses ;  previously  we 
had  used  a  mixture  of  Tallis  and  plain  song. 

On  St.  Mark's  Day,  in  Easter  week,  quite  a  memo- 
rable event  occurred — the  first  service  by  the  united 
choirs  of  Trinity  Parish.  This  enterprise  was  initiated 
and  carried  out  mainly  by  Dr.  Pech,  then  organist  of  St. 
John's  Chapel.  With  the  order  of  service  was  printed 
an  elaborate  "  Order  of  Procession."  We  all  got  brevet 
appointments  for  the  day:  I  figured  as  Choragus,  with 
the  Rev.  Dr.  Young  of  St.  John's  as  Precentor ;  the  other 
organists,  Dr.  Walter,  Dr.  Pech,  and  Michael  Erben,  of 
St.  Paul's  Chapel,  became  Vicars  Choral;  the  choir  boys 
of  three  churches,  the  "  Lay  Clerks  "  of  four,  the  three 
Orders  of  Clergy,  and  three  detachments  of  Vergers  and 
Sextons  completed  the  list.  The  actual  procession,  which 
passed  down  the  north  aisle  and  up  the  centre,  chanting 
the  68th  Psalm,  was  quite  impressive,  and  the  musical  part 
of  the  service  was  well  done ;  it  is  true  that  not  much  was 
attempted;  the  Te  Deum  was  chanted,  a  short  and  sim- 
ple anthem  by  Elvey,  and  the  "  Hallelujah  "  chorus  were 
sung.  The  Rector  preached  on  "  Ritual  Progress."  This 
service  was  followed  in  the  evening  by  a  performance  of 
"  The  Messiah  "  at  St.  John's  Chapel,  in  which  the  choirs 
of  the  Parish  helped  to  make  up  the  three  hundred  voices 


W^      WW 


* 


A.    II.    MESSITER,    Mus.   Doc, 

Organist  and  Choirmaster, 

1866— 1897. 


Choir  and  Music  121 

of  the  chorus.  To  accommodate  the  singers  and  orches- 
tra, a  platform  was  built  over  the  entire  chancel  of  St. 
John's,  not  so  large  then  as  now ;  Dr.  Pech  conducted  the 
Oratorio,  and  Dr.  Walter  and  myself  shared  the  duties 
at  the  organ  in  the  west  gallery.  Taken  altogether,  the 
day's  work  in  effecting  a  successful  combination  of  musi- 
cal forces  of  the  Parish  was  noteworthy;  and  credit  is 
due  to  Dr.  Pech  for  carrying  out  the  scheme. 

The  evening  performance  was  announced  as  "  The 
Festival  of  the  Trinity  Choirs,  under  the  immediate  aus- 
pices of  the  Rector,  clergy  and  corporation  of  Trinity 
Parish."  The  principal  vocalists  were  Miss  Brainerd, 
Miss  Sterling,  Miss  Matilda  Phillips,  Messrs.  Perring 
and  Thomas.  Miss  Phillips  was  announced  for  one  solo 
only,  "  He  shall  feed  His  flock,"  all  the  other  contralto 
parts  being  taken  by  Miss  Sterling.  The  price  of  tickets 
was  one  dollar;  reserved  pews,  ten  dollars  and  upward; 
but  no  money  was  taken  at  the  door.  The  names  of  the 
Clergy  and  Vestry  were  given  in  full  on  the  evening  pro- 
gramme; and  it  is  noticeable  that,  of  the  Vestry  of  that 
day,  not  one  is  now  living;  and  of  the  Clergy  only  two — 
the  Rector  and  Bishop  Neely. 

Our  regular  services  went  on  as  usual ;  even  on  Ascen- 
sion Day  there  was  no  change,  except  that  the  choir  was 
increased  for  that  day  by  the  addition  of  some  boys  from 
Trinity  Chapel  and  a  few  volunteer  men.  The  music 
comprised  Boyce's  morning  Service  in  C,  Croft's  anthem, 
"  God  is  gone  up,"  and  "  Lift  up  your  heads  "  from  "  The 
Messiah,"  at  the  Offertory. 

A  retrospect  of  this  year's  work  shows  a  total  of  forty- 
eight  anthems,  at  least  half  of  them  new,  and  seven  morn- 
ing Services;  no  Communion  or  evening  Services  as  yet 
— the   introduction   of   Processionals   and   Offertory   an- 


122  Trinity  Church,  New  York 

thems,  and  the  adoption  of  cassocks  and  cottas  for  the 
choir.  In  addition,  for  the  greater  part  of  the  year,  the 
daily  service  was  given  chorally,  morning  and  afternoon. 
This  was  a  voluntary  experiment  on  my  own  responsi- 
bility; and  for  the  purpose  a  supplementary  choir  of 
boys  from  the  Parish  School  was  trained;  these  were 
assisted  in  the  services  by  one  or  more  boys  from  the 
regular  choir,  who  received  a  small  sum  for  such  serv- 
ices; there  were  also  a  few  volunteer  men.  Nothing  was 
attempted  beyond  the  necessary  chants,  but  the  Psalms 
were  chanted  and  the  service  was  choral.  Difficulties 
arose,  chiefly  on  the  subject  of  attendance  by  the  choir 
boys;  and  after  about  a  year's  trial  the  thing  was  given 
up.  The  Vestry  were  not  disposed  to  take  any  steps  to 
make  the  plan  permanent,  and  no  one  seemed  to  take 
much  interest  in  the  matter.  The  services  were  carried 
on  for  a  while,  after  I  gave  them  up,  by  the  Rev.  H.  H. 
Oberly,  who  played  the  organ  himself,  but  before  long 
the  music  was  discontinued. 


XXV 

i 867-1 868 

On  the  6th  of  June,  1867,  a  service  was  given  at 
Trinity  Chapel  by  the  "  Church  Choir  Union,"  in  which 
seven  choirs  were  announced  as  taking  part,  probably  all 
the  surpliced  choirs  then  existing  in  this  city.  The  list 
includes  the  Annunciation,  Holy  Apostles,  St.  Alban's, 
and  St.  George's,  besides  the  three  of  Trinity  Parish. 
The  service  was  directed  by  Dr.  Walter,  who  officiated 


Choir  and  Music  123 

at  the  organ,  assisted  by  his  son,  Mr.  George  W.  Walter ; 
and  the  programme  was  as  follows: 

Hymn. — "Salvation  comes" German  Chorale 

Responses. — Tallis. 

Venite 5^  Tone 

Psalms  47,  48 3d  and  8th  Tones 

Te  Deum  and  Jubilate 2d  and  8th  Tones 

Anthem. — "  God  is  gone  up  " Crojt 

Sermon. 

Offertory. 

Recessional. — "  Jerusalem  the  golden." 

The  first  hymn  is  not  announced  as  a  processional,  and 
was,  I  think,  sung  after  the  choirs  had  taken  their  places. 

"  The  Church  Choir  Union  of  New  York  and  Vicin- 
ity "  was  founded  and  organized  by  Dr.  Walter  in  De- 
cember, 1862.  In  the  following  year  three  services  were 
given;  one  at  St.  John's  and  two  at  Trinity  Chapel;  and 
an  "  Order  of  Service  "  was  then  issued,  which  contained 
the  Miserere,  set  to  the  3d  Tone,  the  plain  song  Litany, 
and  two  Hymns. 

I  have  no  information  as  to  what  services  were  held 
in  the  following  years  until  that  in  1867,  described  above, 
which  was  the  last  public  appearance  of  the  Union;  as 
an  attempt  to  repeat  the  service  in  the  following  summer 
failed,  through  lack  of  interest  among  the  choirs. 

On  St.  James'  Day,  the  Rev.  Dr.  Young  was  con- 
secrated Bishop  of  Florida  at  Trinity  Church;  the  choir 
was  selected  from  St.  John's  and  Trinity  Chapels  and 
Trinity  Church,  and  the  music  comprised  processional 
Psalms  84,  122;  Introit,  Psalm  148;  Communion  Service, 
Rogers  in  D,  including  Gloria  in  Excelsis ;  anthem,  "  Now 
we  are  ambassadors  "  and  "  How  lovely  are  the  messen- 


124  Trinity  Church,  New  York 

gers,"  from  St.  Paul ;  and  for  recessional,  "  Sevenfold 
Spirit,"  a  hymn  by  Rev.  G.  Moultrie,  set  to  music  by  Rev. 
J.  H.  Hopkins.  Rogers'  Service,  composed  about  1650, 
contained  originally  no  Gloria  in  Excelsis,  which  was 
added,  in  similar  style,  by  Ouseley  about  1850.  For  over 
two  centuries  in  the  English  Church,  Gloria  in  Excelsis 
was  rarely,  if  ever,  sung;  the  Sanctus  was  generally  used 
as  an  Introit,  and  is  on  that  account  placed  before  the 
Kyrie  in  old  publications. 

A  special  service  held  on  the  24th  of  September,  co- 
incidently  with  the  opening  of  the  Pan-Anglican  Synod 
in  London,  has  no  point  of  musical  interest;  but  the  list 
of  singers  includes  a  boy,  John  Niglutsch,  whose  history 
was  peculiar.  When  quite  young  his  musical  talent  was 
noticed  by  the  Rev.  Dr.  Muhlenberg,  who  had  him  edu- 
cated and  instructed  in  music.  He  sang  occasionally  with 
us,  and  sometimes  played  the  service;  afterwards  he  be- 
came organist  of  a  country  church ;  then  studied  medicine, 
graduated,  and  practised  for  a  while;  afterwards  took  up 
politics  and  was  elected  Assemblyman  for  one  of  the  city 
districts.     He  died  quite  young  a  few  years  ago. 

Changes  were,  as  usual,  going  on  among  the  boys ; 
the  treble  leader  in  November,  1867,  was  George  O'Reilly, 
who  entered  the  choir  in  Dr.  Cutler's  time,  and  later  was 
one  of  our  tenors;  for  some  years  now  he  has  been  prin- 
cipal tenor  at  St.  Paul's  Chapel,  and  his  son  is  one  of 
our  promising  young  trebles.  Summers  was  ill  at  this 
time,  but  resumed  his  place  and  held  it  until  May,  1868, 
when  his  voice  failed.  A  prominent  solo  boy  was  John 
M.  Knapp,  afterwards  leader,  who  in  due  time  became 
an  organist;  serving  at  St.  George's,  Flushing,  and  St. 
Bartholomew's,  Brooklyn.  Knapp  had  an  excellent  light 
soprano  voice,   and  could  sing  florid  music  with  much 


Choir  and  Music  125 

facility ;  his  two  sons  were,  at  a  later  date,  valuable  mem- 
bers of  our  choir.  Edward  Ehrlich  was  also  heard  in 
solo  parts;  he  was  a  brother  of  Emil  Ehrlich  of  Dr.  Cut- 
ler's choir. 

In  October,  Boyce's  anthem,  "  O  where  shall  wisdom 
be  found,"  was  revived,  the  quintet  and  trio  sung  by 
O'Reilly,  Knapp,  Grandin,  Messrs.  Hubbard  and  Yat- 
man ;  and  the  entire  anthem  was  well  done.  It  was  given 
twice,  each  time  in  the  morning  service,  notwithstanding 
its  length. 

On  Christmas  Day  the  entire  Communion  Service  was 
sung  to  Calkin  in  Bfc>,  but  on  that  day  only;  the  anthem 
setting  of  Gloria  in  Excelsis  was  not  approved,  and  I 
find  only  one  instance  of  its  use  during  the  next  twelve 
months,  and  that  at  a  special  week-day  service.  On  this 
day  the  morning  Service  of  Smart  in  F,  now  so  familiar, 
was  first  sung. 

Easter  Day,  1868,  the  music  was  elaborate  and  diffi- 
cult; except  in  the  Communion  Service,  the  music  of 
which  was  plain  and  simple,  with  the  "  Old  Chant " 
Gloria  in  Excelsis.  The  anthem  was  "  Sing  we  merrily," 
by  Dr.  Crotch,  which  comprises  two  fugued  choruses  and 
a  quartet,  all  worked  out  at  considerable  length,  and 
forming  one  of  the  most  spirited  and  stirring  compositions 
of  the  English  school.  In  the  afternoon  we  had  Hop- 
kins' Service  in  A;  the  morning  anthem  was  repeated, 
with  the  "  Endless  Alleluia  "  and  Handel's  "  Hallelujah  " 
chorus,  after  the  sermon;  probably  they  were  separated 
by  the  Offertory.  The  choir  numbered  twenty-six,  and 
their  work  was  very  good  throughout  the  day.  Treble 
solos  were  taken  by  Summers  and  Knapp;  the  principal 
alto  was  T.  Gorton  Coombe,  who  sang  in  this  choir  for 
fifteen    years    as   treble,    alto,    and    tenor    in    succession. 


126  Trinity  Church,  New  York 

Hopkins'  evening  Service  was  sung  again  on  Whitsun- 
day; but  from  that  date,  for  a  year  and  a  half,  only 
chants  were  used  for  the  evening  Canticles. 

On  the  23d  of  April  was  held  the  first  service  of  the 
American  Church  Union,  with  a  sermon  by  the  late  Rev. 
Dr.  Morgan,  the  president.  There  was  a  choir  of  twenty- 
three,  with  about  fifty  clergy,  who  proceeded  down  the 
north  aisle  and  up  the  center,  singing  the  hymn,  "  Lord, 
now  round  Thy  Church,"  words  and  music  by  Rev.  Dr. 
Hopkins;  the  Service  was  Smart  in  F,  the  anthem,  "  Hear, 
O  Thou  Shepherd,"  by  Whitfeld;  with  Merbecke's  Creed 
and  the  Communion  Service  of  Calkin  in  Bb. 

An  incident  of  this  period  was  a  visit  of  the  entire 
choir  to  New  Brunswick,  N.  J.,  to  sing  at  the  opening  of 
a  new  organ  in  Christ  Church.  After  a  short  service,  a 
series  of  our  familiar  anthems  was  given,  interspersed 
with  organ  solos  by  the  local  organists.  We  were  all 
hospitably  entertained  at  the  hotel;  and  after  the  service 
the  older  members  of  the  party  were  resting  and  con- 
versing in  the  hotel  parlor,  the  boys  having  been  disposed 
of  for  the  night,  as  we  hoped,  when  suddenly  the  door 
opened  and  a  weird  procession  appeared,  the  visible  com- 
ponents of  which  were  a  number  of  figures  wrapped  in 
blankets,  with  a  disheveled  head  on  the  top  of  each  and 
two  bare  feet  below.  In  fact,  the  boys  had  broken  loose, 
and  were  giving  us  a  taste  of  their  quality.  The  night 
was  by  no  means  a  quiet  one,  and  it  was  understood  that 
our  entertainers  had  to  pay  a  heavy  bill  for  pillow- 
cases; they  made  no  complaint,  and  treated  us  hand- 
somely throughout,  providing  amusements  for  the  boys 
the  next  day. 

On  the  1st  of  May,  John  P.  Morgan  commenced  duties 
as  associate  organist;  and,  until  he  was  forced  by  bad 


JOHN    PAUL    MORGAN, 

Associate  Organist, 

1868— 1873. 


I 


r 


Choir  and  Music  127 

health  to  retire,  the  music  of  Trinity  Church  derived 
much  benefit  from  his  technical  knowledge  and  fine  play- 
ing. The  title  of  "  Associate  "  was  adopted  in  deference 
to  his  talent  and  prominent  position  in  the  musical  world, 
and  his  successor  was  the  last  to  bear  it. 

John  Paul  Morgan  was  a  son  of  Rev.  Dr.  Morgan, 
President  of  Oberlin  College,  Ohio ;  one  of  three  brothers, 
who  were  all,  more  or  less,  musically  gifted,  though  only 
John  Paul  made  music  his  profession;  all  three  came  to 
this  city,  and  all  died  comparatively  young.  One  of  the 
brothers,  William  H.,  had  a  fine  voice,  and  was  for  six 
months  principal  bass  in  our  choir.  John  Paul  Morgan 
spent  some  years  at  Leipsic,  studying  under  Richter  and 
Hauptmann;  and  on  his  return  to  America  was  organist 
first  at  old  St.  Ann's  Church,  Brooklyn.  He  played  only 
the  compositions  of  Bach,  Merkel,  and  the  contrapuntal 
school,  disdaining  to  touch  the  works  of  modern  French 
writers,  then  and  now  so  much  in  vogue;  and  his  play- 
ing was  characterized  by  breadth,  solidity,  and  moderate 
tempi.  He  composed  many  things:  part  of  a  symphony 
in  G  minor  was  played  at  Trinity  Church;  a  Te  Deum, 
written  for  St.  Ann's,  and  some  anthems  are  published. 
Mr.  Morgan  was  a  victim  of  consumption;  in  1873  he 
was  forced  to  resort  to  the  milder  climate  of  Santa  Bar- 
bara, Cal.,  where  he  died. 

The  services  of  the  three  Festivals  this  year  did  not 
come  up  to  the  standard  of  Easter;  there  seems  to  have 
been  a  period  of  stagnation :  my  record  of  Ascension  Day 
says,  "  small  choir  and  poor  singing " ;  there  was  no 
fresh  music  on  either  occasion. 

This  year's  record  of  new  compositions  shows  two 
Morning,  two  Communion,  and  one  Evening  Service; 
fourteen  anthems,  ten  being  English  and  four  German. 


128  Trinity  Church,  New  York 

XXVI 
1868-1870 

In  October  the  General  Convention  assembled  in  this 
city,  and  the  opening  service  was  held  in  Trinity  Church ; 
but  in  consequence  of  objections  to  the  choral  service, 
neither  the  choir  nor  myself  took  any  part.  The  hymns 
and  chants  were  sung  by  a  choir  of  Clergy  in  the  gallery, 
accompanied  on  the  large  organ  by  Mr.  J.  H.  Cornell. 
We  had,  however,  special  services  on  two  Sunday  even- 
ings, with  addresses  on  Missions. 

The  daily  services  during  the  session  of  the  Conven- 
tion were  held  at  Trinity  Chapel,  and  some  delegates, 
who  were  not  accustomed  to  vested  choirs  and  choral 
service,  objected  to  the  arrangement.  The  objectors 
were  ably  answered  by  the  Rev.  Dr.  Haight  and  others, 
and  no  change  was  made. 

There  was  much  controversy  at  the  time  on  the  sub- 
ject of  boy  choirs;  and  one  indignant  defender  of  the 
cause  lifted  up  his  (or  her)  pen  and  relieved  his  feelings 
in  the  following  verses,  which  appeared  in  the  Evening 
Post: 


OUR  LITTLE   BOYS  IN   SURPLICES 


Oh!  we've  heard  full  enough  of  "the  boys  in  gray"; 
And  "the  boys  in  blue"  have  had  their  day, 
And  now  I  submit  that  it's  orthodox,  quite, 
To  speak  a  few  words  for  our  boys  in  white; 
Those  nice  little  fellows  in  surplices. 


Choir  and  Music  129 


How  sweetly  they  look  as  they  stand  in  a  row, 
With  each  dear  little  mouth  rounded  just  like  an  O, 
And  their  cheeks  all  aflame,  as  they  strain  at  the  notes, 
Which  rise  to  the  skies  from  their  pure  little  throats! 
Those  good  little  boys  in  surplices. 

3 
Men's  voices  and  women's  are  all  well  enough 
To  sing  about  love,  or  some  other  such  stuff; 
But,  to  fill  a  high  church  with  melodious  noise, 
You  may  trust  to  my  word,  there  is  nothing  like  boys; 
Like  our  own  little  boys  in  surplices. 

4 

'Tis  true,  there  are  worshipers,  "squeamish"  and  low, 
Who  look  on  the  thing  as  a  kind  of  a  show, 
And  who  roundly  complain,  with  a  shrug  and  a  sigh, 
That  the  little  boys'  voices  are  rather  too  "high," 
In  spite  of  the  weight  of  the  surplices. 

5 
Now,  really,  such  people  are  naught  but  a  scandal; 
We  can't  have  a  Mass,  and  we  can't  light  a  candle, 
But  some  one  objects  to  those  innocent  joys, 
And  now  they're  attacking  our  poor  little  boys; 
Those  sweet  little  darlings  in  surplices. 


You  may  pile  up  your  pillows,  ye  merciless  crew! 
But  our  babies  shall  never  be  smothered  by  you; 
For  their  "Tower"  is  proof  against  all  that  annoys, 
And  we'll  fight  to  the  last,  for  our  "Trinity  boys"; 
Our  little  pet  choir  in  surplices. 

P.  R. 
Flushing  Bay,  October  10,  1868. 


130  Trinity  Church,  New  York 

In  September  a  detachment  of  the  choir,  fifteen  voices, 
officiated  at  the  laying  of  the  foundation  stone  of  the 
Church  of  St.  Mary  the  Virgin.  The  Clergy  and  choir 
assembled  at  a  private  house  near  by,  and  having  vested, 
walked  in  silent  procession  to  the  site.  The  music,  sung 
without  accompaniment,  consisted  of  Psalms  122  and  195, 
chanted,  Tallis'  Responses,  a  short  anthem,  "  O  how 
amiable"  (Richardson),  Magnificat  and  Nunc  Dimittis 
to  Parisian  Tones,  and  was  not  very  effective,  the  want 
of  some  instrumental  support  being  much  felt. 

On  Christmas  Day  the  Kyrie,  Sanctus,  and  Gloria 
from  the  "  Missa  de  Angelis,"  were  sung.  This  plain- 
song  service,  sung  in  unison,  did  not  find  much  favor; 
it  was  repeated  on  two  Sundays,  after  which  we  fell  back 
on  the  "  old  chant,"  with  an  occasional  change  of  Kyrie 
and  Sanctus. 

The  choir  on  Christmas  Day  numbered  thirty,  the  full 
capacity  of  the  old  choir  seats ;  and  was  in  a  very  efficient 
condition:  the  basses  being  Messrs.  W.  H.  Morgan,  Yat- 
man,  Tucker,  Dunkinson,  A.  G.  Wood,  Zorn;  and  the 
tenors,  Messrs.  Goodall,  Hubbard,  Jowitt,  Place,  Rannes ; 
the  altos  were  led  by  Mr.  Smedley,  who  came  to  us  this 
year.  Mr.  Smedley's  experience  in  English  choirs,  united 
to  a  good  voice,  was  of  the  greatest  service  in  maintain- 
ing the  efficiency  of  the  choir ;  he  remained  with  us  alto- 
gether fourteen  years  as  principal  alto.  Among  the  altos 
was  W.  J.  Coles,  an  English  boy,  who  showed  promise 
of  becoming  a  good  organist,  had  not  consumption  car- 
ried him  off  when  quite  young.  The  trebles  were  good; 
among  them  were  Julius  Cresar  (von  Arx)  and  Louis 
Napoleon  (Fink). 

Tn  Holy  Week,  1869,  the  processionals  were  Psalms 
22,  38,  88,  and  85,  chanted;  there  was  a  daily  celebration 


Choir  and  Music  131 

of  Holy  Communion,  with  Psalm  130  chanted  after  the 
Gospel.  On  Good  Friday  the  "  De  profundis "  came 
after  the  sermon;  a  motet  of  Gounod  was  sung  at  the 
Offertory,  and  hymns  were  used  for  processionals.  The 
next  year,  ten  verses  of  Psalm  51  were  substituted  for 
Psalm  130  throughout  the  week;  there  was  also  a  short 
anthem  on  Good  Friday,  besides  a  Gounod  motet  at  the 
Offertory.  The  year  following,  the  short  anthem  was 
replaced  by  a  hymn,  and  the  whole  of  Psalm  51  chanted 
after  the  sermon.  The  Gregorian  Miserere,  as  sung  now, 
was  adopted  in  1872. 

On  Easter  Day,  1869,  there  was  a  new  anthem,  but 
the  Communion  Service  was  plain,  and  the  evening  can- 
ticles were  chanted.  The  Ascension  Day  service,  how- 
ever, received  more  attention  than  in  previous  years,  and 
marks  the  beginning  of  the  elaborate  celebration  of  that 
Festival,  which  has  been  the  rule  ever  since.  Two  new 
anthems  were  sung,  both  fine  compositions  in  different 
styles — "O  God,  the  King  of  Glory"  (Walmisley)  and 
"  King  all  Glorious  "  (Barnby) ;  and  the  accompaniments 
were  enriched  by  the  addition  of  a  harp,  played  by  Mr. 
Toulmin,  which  was  used  in  the  Offertory  anthem  and 
the  Gloria  in  Excelsis.  The  Communion  Service  was 
Calkin  in  Bb,  which  remained  in  regular  use,  Sun- 
days and  Saints'  Days,  until  October,  1870,  varied 
only  by  occasional  use  of  the  "  old  chant,"  and  some- 
times, though  not  often,  a  Kyrie  and  Sanctus  from  an- 
other source. 

After  the  service  of  this  day  the  choir  dined  together 
for  the  first  time,  and  the  boys  were  taken  to  a  theatre  in 
the  evening.  The  choir  dinner  on  Ascension  Day  was 
continued  every  year  afterwards  until  1886,  and  was  a 
very    pleasant    affair;    generally    presided    over    by    the 


132  Trinity  Church,  New  York 

Rector,  and  enlivened  by  singing  and  various  kinds  of 
oratory. 

On  Trinity  Sunday,  for  the  first  time,  different  an- 
thems were  sung  morning  and  afternoon,  though  this  did 
not  become  the  regular  practice  until  at  least  two  years 
after.  The  opening  of  the  Pacific  Railroad  was  cele- 
brated on  the  10th  of  May  at  a  special  service,  which  in- 
cluded appropriate  Hymns  and  Collects,  Te  Deum,  and 
Antecommunion,  with  the  usual  Righini  and  Mozart  an- 
thems and  an  address. 

The  new  music  of  the  year  1868-69  included  Goss's 
anthem,  "  The  Wilderness,"  with  seven  others ;  and  three 
Te  Deums,  of  which  the  most  important  was  by  John  P. 
Morgan:  this  was  a  finely  written  work,  with  solos  and 
contrapuntal  choruses,  but  was  not  much  liked,  chiefly 
because  the  themes  were  not  particularly  attractive. 

On  the  third  Sunday  after  Trinity,  1869,  the  old 
"  metrical  selections  "  and  Hymns  were  given  up,  and 
"  Hymns  Ancient  and  Modern  "  adopted,  remaining  in 
use  until  1875,  when  the  corrected  and  final  edition  of  the 
new  Hymnal  authorized  by  the  General  Convention  was 
issued.  The  publication  of  "  Hymns  Ancient  and  Mod- 
ern," and  its  introduction  here,  had  an  important  effect 
on  the  Hymnody  of  the  Church;  largely  changing  its 
character  by  bringing  forward  the  modern  hymns  of 
Keble,  Faber,  Neale,  Bonar,  and  many  others,  with  the 
tunes  of  Dykes,  Barnby,  Gauntlett,  etc.  These  hymns 
and  tunes  have  taken  a  firm  hold  on  popular  affection, 
and  have  been  extensively  adopted  by  other  religious 
bodies,  notably  by  the  Presbyterians.  As  we  used  seven 
hymns  every  Sunday,  the  increased  variety  afforded  by 
the  new  book  was  a  great  advantage. 

In  August  we  were  so  fortunate  as  to  secure  the 


Choir  and  Music  133 

services  of  Mr.  Franz  Remmertz,  then  just  arrived  from 
Germany;  his  beautiful  voice  and  cultivated  style  were 
enjoyed  here  for  a  year  and  a  half,  after  which  he  accepted 
a  more  lucrative  engagement.  A  prominent  solo  boy  at 
this  time  was  Frank  Hallock,  a  bright  boy  with  a  bright 
voice,  who  took  the  most  important  solos,  although  Knapp 
was  still  leader :  the  "  leader  "  is  chosen  on  the  ground 
of  general  reliability,  and  the  fine  soloist  of  the  choir 
will  often  be  found  in  the  second  place.  A  good  mezzo- 
soprano  was  Edward  Lindig,  who  had  a  voice  of  no 
great  compass,  but  of  beautiful  quality.  Henry  Wood- 
cock and  Norbert  Ward  were  also  useful  singers  who 
took  secondary  parts;  Ward  was  the  last  of  three  broth- 
ers, all  Trinity  choir  boys,  the  first  two  in  Dr.  Cutler's 
time.  We  had  also  three  brothers  Schmitt  in  succession, 
the  oldest  of  whom  was  at  this  time  among  the  trebles. 

On  Christmas  Day  the  morning  Service  was  Hopkins 
in  A,  which  requires  ten  solo  voices  for  the  concerted 
parts;  among  our  ten  was  Arthur  Livingston,  who  had 
a  good  and  genuine  alto  voice,  and  was  also  a  good 
reader.  Recent  acquisitions  in  the  tenor  department  were 
Messrs.  H.  R.  Humphries  and  F.  Keppel. 

On  the  fourth  Sunday  after  Epiphany,  1870,  Prince 
Arthur,  Duke  of  Connaught,  attended  morning  service. 
He  was  to  have  been  welcomed  with  the  English  national 
anthem,  but  His  Royal  Highness  was  late,  and  the  serv- 
ice, delayed  for  a  few  minutes,  was  begun  before  his 
arrival.  We  had  at  last  given  up  the  habit  of  singing 
Marcello's  anthem  when  any  distinguished  personage 
attended  service,  and  the  ordinary  music  of  the  sea- 
son was  used.  For  Easter  Day,  Mr.  Morgan  com- 
posed a  new  anthem,  "  The  Word  which  God  sent," 
which  was  sung  with  good  effect;  it  contained  a  short 


134  Trinity  Church,  New  York 

solo  for  Mr.  Remmertz,  a  trio  for  alto,  tenor,  bass,  and 
two  choruses. 

On  the  second  Sunday  after  Easter  the  new  "  Trinity 
Parish  Psalter  "  was  taken  into  use.  Dr.  Cutler's  book, 
known  as  the  "  Trinity  Psalter,"  had  done  good  service 
for  six  years,  but  the  supply  of  tunes  in  that  book  was  lim- 
ited, new  ideas  were  spreading,  and  there  was  a  demand 
for  a  fresh  book. 

The  Rector  and  Vestry,  through  the  music  commit- 
tee, appointed  a  Commission,  who  in  turn  appointed  a 
subcommittee  consisting  of  the  four  organists  of  the  Par- 
ish, with  the  Rev.  Mr.  Cooke  as  chairman,  to  do  the 
actual  work.  It  was  expected  by  this  plan  to  secure  a 
Psalter  which  should  be  generally  acceptable  as  a  stand- 
ard book  for  the  entire  Church,  and  which  should  be  as 
free  as  possible  from  individual  whims. 

The  subcommittee  met  twice  a  week  for  over  a  year; 
every  available  Psalter  was  examined  and  every  system 
discussed:  each  verse  was  argued  over,  where  there  was 
any  possibility  of  opinions  differing,  and  the  vote  of  the 
majority  settled  each  point.  With  regard  to  the  tunes, 
certain  portions  of  the  Psalter  were  allotted  to  each  or- 
ganist, who  selected  tunes,  the  general  character  having 
been  first  agreed  upon;  these  tunes  were  criticised  and 
voted  upon  in  their  turn.  The  "  pointing  "  has  been  at 
various  times  criticised,  but  this  is  a  matter  of  course; 
"  tot  homines,  tot  sentential  "  applies  to  pointing,  if  to 
nothing  else.  It  is  quite  certain  that  no  pains  were  spared 
in  its  preparation,  and  it  is  my  opinion  that,  for  simplicity 
and  intelligibility,  no  better  book  exists. 


Choir  and  Music  135 

XXVII 

1870 

There  is  now  to  be  recorded  the  boldest  innovation 
yet  made  in  the  services  of  Trinity  Church,  namely,  the 
introduction  of  an  orchestra  for  accompaniment,  which 
was  effected  on  Ascension  Day,  1870.  The  matter  had 
been  under  discussion  for  a  year  previously,  and  was  in 
some  degree  prepared  for  by  the  use  of  a  harp  in  1869. 
The  plan  was  urged  by  Mr.  Morgan  and  myself,  and  we 
had  the  support  of  Mr.  Strong,  the  Comptroller.  The 
Rector  laid  the  proposal  before  the  Vestry,  with  the  re- 
sult that,  without  formally  authorizing  it,  the  scheme 
was  permitted  as  an  experiment,  and  $100  was  appro- 
priated toward  the  expense.  The  entire  cost  of  the  serv- 
ice was  $285,  which  was  afterwards  paid  in  full  by  the 
Corporation. 

The  general  rehearsal  was  a  terrible  experience,  ag- 
gravated by  the  presence  of  a  large  number  of  listeners; 
in  fact  the  church  was  nearly  full,  and  the  proceedings 
doubtless  caused  many  misgivings  as  to  the  final  result 
among  the  audience,  which  included  several  of  the  clergy 
and  vestry.  Everything  was  experimental:  the  combina- 
tion of  an  orchestra  and  chorus  three  hundred  feet  apart, 
with  audience  separating  them,  had  probably  never  be- 
fore been  attempted.  Signals  had  to  be  arranged  and  a 
general  understanding  effected:  as  there  was  no  other 
mode  of  communication,  a  good  deal  of  shouting  between 
the  two  conductors  was  unavoidable.  The  rehearsal, 
however,  rough  and  sometimes  confused  as  it  may  have 
seemed,  did  its  work;  and  the  result  was  a  complete  tri- 
umph.    At  the  service  the  music  was  well  sung,  accord 


136  Trinity  Church,  New  York 

between  the  two  departments  in  time  and  tune  was  well 
sustained;  there  was  no  confusion,  no  hitch  or  uncer- 
tainty at  any  time — everything  went  smoothly.  The  en- 
tire programme  was  as  follows: 

Processional. — "We  march,  we  march"      ....    Bamby 

Organ 
Anthem. — "O  risen  Lord" Bamby 

Orchestra 

Kyrle. — St.  Cecilia  Mass Gounod 

Organ 
Creed. — St.  Cecilia Gounod 

Orchestra 
Offertory. — 1st  Motet Mozart 

Orchestra 
Sanctus. — St.  Cecilia Gounod 

Orchestra 

Agnus  Dei. — Missa  de  Angelis Plain  song 

Organ 
Gloria  in  Excelsis,  in  Bt> Calkin 

Orchestra 
Recessional  Hymn. — "  Hail  the  day  that  sees  Him  rise." 

The  choir  numbered  only  twenty-nine;  the  orchestra, 
twenty-eight,  including  strings,  fifteen;  wood  wind,  seven; 
brass  and  drums,  six.  The  orchestra  was  directed  by 
Mr.  Morgan,  with  Mr.  O.  B.  Boise  at  the  nave  organ; 
I  played  the  chancel  organ,  conducting  from  the  organ 
seat. 

The  Gloria  of  Calkin  was  scored  for  orchestra  by 
Mr.  Morgan,  the  Barnby  anthem  by  another  hand.  Gou- 
nod's Mass  is  scored  for  a  very  large  orchestra,  and 
some  of  the  less  important  parts  had  to  be  dispensed  with, 
or  supplied  on  the  organ,  partly  from  want  of  space  to 
accommodate  the  necessary  men,  but  also  out  of  consid- 
eration for  the  small  choir. 


Choir  and  Music  137 

The  quartet  in  the  Barnby  anthem  consisted  of  E. 
Lindig,  Messrs.  Barron,  Goodall,  and  Remmertz.  In  the 
Mozart  Offertory,  soloists  were  Woodcock,  Lindig,  Rev. 
W.  H.  Cooke,  and  Mr.  Remmertz;  the  solo  part  in 
Gounod's  Sanctus  was  admirably  sung  by  Rev.  Mr. 
Cooke. 

This  was  the  first  regular  service  consisting  of  Holy 
Communion  alone,  morning  prayer  having  been  said  ear- 
lier without  music ;  it  was  also  the  first  occasion  on  which 
Agnus  Dei  was  sung.  There  was  as  yet  no  procession 
round  the  church. 

The  satisfaction  of  the  Rector  and  Vestry  with  the 
result  of  the  musical  experiment  was  shown  by  the 
payment  of  the  entire  expenses,  and  the  order  that  an 
orchestra  should  be  employed  in  future  at  each  of  the 
five  principal  festivals.  This  order  remained  in  force 
until  1877. 

The  musical  programme  of  this  day  was  open  to 
criticism  from  an  aesthetic  point  of  view,  inasmuch  as 
only  two  numbers  of  Gounod's  Mass  were  used;  there 
was  also  a  want  of  homogeneity  in  the  service  music, 
which  was  drawn  from  Anglican,  Gallican,  and  Roman 
sources.  The  use  of  an  Introit  and  Offertory  in  a  con- 
trasted style  will  generally  prove  to  be  an  agreeable  re- 
lief;  but  the  service  music  should  always  be  connected  in 
idea  and  treatment.  Of  the  Gounod  Mass,  the  Gloria  is 
the  most  difficult,  in  fact  the  only  difficult  part;  and  in 
this  new  experiment  a  disposition  to  avoid  difficulties 
may  be  excused.  The  use  of  a  short  "  Agnus,"  with 
organ  accompaniment,  was  plainly  due  to  hesitation  at 
using  the  orchestra  during  Administration.  This  service 
was  only  permitted  as  an  experiment,  and  it  was  im- 
portant to  avoid  running  against  prejudices. 


138  Trinity  Church,  New  York 

In  April,  1870,  three  little  German  boys  presented 
themselves  together  as  candidates  for  the  choir,  two  of 
whom  were  already  fair  violin  players;  one  of  these,  Emil 
Haberkorn,  became  leader  two  years  later,  and  was  a 
good  and  reliable  singer.  Another,  F.  W.  Thursch,  has 
been  still  more  closely  connected  with  the  music  of  Trin- 
ity Church.  A  choir  boy  for  three  years,  singing  treble 
and  alto  in  succession,  he  was  enthusiastic  and  tireless  in 
the  discharge  of  his  duties.  His  voice  was  not  remark- 
able, and  his  talent  lay  rather  in  the  direction  of  instru- 
mental music,  but  he  was,  nevertheless,  a  valuable  mem- 
ber of  the  choir,  always  eager  to  be  of  use.  After  gaining 
some  experience  in  other  churches,  he  returned  to  us  as 
assistant  organist;  and  his  early  death  deprived  us  of  a 
fine  performer  and  amiable  character.  His  name  appears 
first  at  the  bottom  of  the  list  of  boys  on  Ascension  Day, 
1870,  in  the  service  last  described. 

The  music  of  Whitsunday  and  Trinity  Sunday  was 
of  little  importance;  not  until  the  following  year  do  we 
find  those  festivals  treated  with  much  consideration. 

The  events  of  the  year  1869-70  make  it  an  important 
epoch  in  our  history,  as  they  include  the  introduction  of 
a  Hymnal  (Ancient  and  Modern),  the  orchestra,  and 
division  of  the  services.  The  new  music  of  the  year  was 
above  the  average  in  quantity  and  importance ;  it  included 
Gounod's  St.  Cecilia  Mass  and  "  Send  out  Thy  light," 
both  first  sung  this  year;  also  nineteen  anthems — eleven 
English,  by  Boyce,  Travers,  Hayes,  Goss,  Steggall,  Tours, 
Barnby,  Thorne,  Morgan ;  and  seven  German,  by  Mozart, 
Spohr,  Mendelssohn,  and  Niedermeyer. 

Our  practice  was  still  to  change  the  service  music  at 
long  intervals  only;  long  anthems  were  sung  in  the  morn- 
ing, as  well  as  afternoon;  one,  or  sometimes  two,  fresh 


Choir  and  Music  139 

every  week,  and  a  hymn  at  the  Offertory.  The  Sunday 
morning  service  would  last  sometimes  over  three  hours; 
the  Saints'  day  services  were  also  long,  comprising  morn- 
ing prayer  and  Communion  Service  with  one  anthem. 


XXVIII 
1870-1871 

On  Christmas  Day,  1870,  occurred  the  second  orches- 
tral service,  at  which  were  sung  the  Creed,  Sanctus,  and 
Gloria  from  Haydn's  Mass  No.  1,  and  selection  from 
Mendelssohn's  "  Christus  "  at  the  Offertory;  the  Agnus 
was  from  the  "  Missa  de  Angelis,"  with  organ  accom- 
paniment. Harrison  Millard  was  specially  engaged  for 
the  tenor  solos. 

The  service  was  preceded  by  an  orchestral  overture 
by  O.  B.  Boise,  which  was  composed  for  this  occasion, 
and  had  "  Adeste  Fideles "  for  principal  theme.  The 
hymn  itself  was  then  sung  as  processional,  followed  by 
the  Litany  to  a  Russian  chant,  adapted  by  the  Rev.  J.  H. 
Hopkins.  The  old-chant  Gloria  in  Excelsis  was  sung 
after  the  sermon  for  the  last  time.  The  Rev.  Dr.  Vinton 
delivered  a  sermon  appropriate  to  the  day,  and  in  the 
course  of  it  quoted  the  words  of  the  well-known  carol : 

"Ring  out  the  bells  for  Christmas, 
The  happy,  happy  day." 

he  then  paused,  and  the  melody  of  the  carol  was  played 
on  the  chimes  in  the  tower;  the  congregation,  according 
to  a  newspaper  account,  were  "  profoundly  impressed." 
Christmas  Day  this  year  fell  on  a  Sunday,  and  in  the 


140  Trinity  Church,  New  York 

afternoon  we  had  Best's  Cantate,  etc.,  in  F,  and  an  an- 
them by  the  same  composer,  "  Behold,  I  bring  you  glad 
tidings." 

For  several  years  a  part  of  the  Christmas  programme 
consisted  of  a  trip  to  Staten  Island  by  a  part  of  the  choir 
on  one  of  the  Sundays  after  Christmas.  I  had  charge 
of  the  music  at  St.  Paul's  Church,  and  a  service  by  the 
Trinity  Church  choir  at  this  season  was  an  annual  event. 
The  trip  was  always  enjoyed;  the  Staten  Islanders  were 
hospitable,  the  boys  were  made  much  of,  and  generally 
spent  the  Monday  in  skating  or  other  amusements  pro- 
vided by  the  good  people  of  St.  Paul's  Church. 

Passing  on  to  Lent,  1871,  I  note  that  Benedicite  was 
used  on  some  of  the  Sundays;  on  others  Te  Deum  was 
sung,  and  Gloria  in  Excelsis  at  all  of  them.  The  small 
organ  alone  was  used  in  the  Communion  Service  during 
Lent.  On  Good  Friday  there  was  the  usual  service,  with 
processionals,  Gregorian  canticles,  and  a  new  motet  by 
Gounod,  "  O  come  near  to  the  Cross." 

Easter  Day  the  Haydn  Mass  No.  1  was  repeated, 
with  the  addition  of  the  Agnus,  the  latter  accompanied 
by  orchestra  for  the  first  time.  There  was  also  a  new 
Offertory  anthem,  by  J.  P.  Morgan,  "  Open  me  the 
gates  " ;  Service  and  anthems  all  sung  with  orchestral 
accompaniment.  Mr.  Millard  was  again  engaged  for 
tenor  solos,  and  a  Mr.  Meigs  as  basso.  Mr.  Morgan's 
anthem  proved  to  be  a  welcome  addition  to  our  reper- 
toire, and  has  been  repeated  many  times;  the  8th  Grego- 
rian Tone  is  the  theme  of  the  second  movement.  In  the 
afternoon  Goss's  unison  Service  in  C  was  first  sung;  we 
had  now  in  use  six  Communion  and  three  Evening 
Services. 

The  Ascension  Day  service  was  nearly  the  same  as 


Choir  and  Music  14 l 

in  the  previous  year ;  the  "  Agnus  "  of  Gounod's  Mass 
was  sung  this  time,  and  a  harp  added  to  the  instrumental 
force.  There  are  important  parts  for  the  harp  in  the 
Creed,  Agnus,  and  Gloria,  and  the  effect  of  the  music 
was  greatly  increased  by  the  addition.  The  tenor  solo  in 
Barnby's  "  King  all  glorious  "  was  sung  by  Mr.  Mars- 
den,  the  bass  solos  by  Mr.  Remmertz,  both  specially  en- 
gaged for  this  service;  the  Sanctus  by  the  Rev.  Mr. 
Cooke.  The  regular  tenor  was  Mr.  Goodall,  who  had  a 
share  of  the  solos;  the  principal  alto,  Arthur  Livingston. 

An  account  of  this  service  appeared  in  Dzvight's 
Journal  of  Music  (Boston),  and  was  copied  into  an 
English  musical  paper ;  it  was,  in  part,  as  follows : 

"  The  most  memorable  feature  of  the  musical  services 
at  Trinity  Church  on  Ascension  Day  was  the  production 
of  four  numbers  of  the  St.  Cecilia  Mass  of  Gounod.  A 
year  ago,  on  Ascension  Day,  the  orchestra  was  first  in- 
troduced into  Trinity,  to  the  holy  horror  of  a  few  slaves 
of  use  and  wont:  as  if  there  were  any  more  sanctity  in- 
herent in  an  organ  than  a  trombone,  or  a  baton  were  any 
more  profane  than  a  tuning  fork.  Upon  that  occasion 
two  numbers  of  this  same  mass  were  done,  but  with  noth- 
ing like  the  elaborateness  or  the  precision  with  which 
they  were  rendered  on  Thursday.  This  latter  was  the 
occasion  of  the  most  extensive  and  certainly  the  best 
production  of  this  most  interesting  and  dramatic  work 
of  modern  Church  music.  .  .  .  The  Nicene  Creed  is  a 
magnificent  composition,  and  its  execution  was  the  musi- 
cal triumph  of  the  service:  ...  it  is  intensely  dramatic 
throughout ;  but  the  triple  repetition  of  the  words  "  On 
the  third  day  "  in  solo,  followed  by  the  magnificent  burst 
of  the  full  choir  and  band  upon  the  words  "  He  rose 
again,"  gives  an  idea  of  Gounod  beyond  anything  of  his 


i42  Trinity  Church,  New  York 

that  we  have  had  hitherto  the  chance  to  hear,  either  in 
sacred  or  secular  music.  It  was  admirably  performed 
throughout,  both  by  voices  and  instruments.  .  .  .  Gou- 
nod's Gloria  is  as  unsatisfactory,  compared  with  the  same 
setting  of  Haydn  done  at  Trinity  on  Easter  Day,  as  the 
Credo  is  superior.  It  begins  with  a  soprano  solo,  accom- 
panied by  the  chorus  pianissimo,  which,  it  has  been  sug- 
gested, is  intended  to  represent  the  original  proclamation 
of  the  angels,  but  which  nevertheless  strikes  the  unac- 
customed ear  as  highly  far-fetched  and  theatrical.  At 
the  words  "  For  thou  only  art  holy,"  the  time  changes 
from  andante  to  allegro,  the  full  chorus  breaks  in,  and 
the  effect  is  sublime.  Upon  the  whole,  the  mass,  which 
has  thus  for  the  first  time  been  really  heard  in  New  York, 
must  impress  every  listener  with  a  sense  of  the  genius  of 
its  composer,  greater  even  than  that  which  his  operatic 
music  has  produced." 

The  St.  Cecilia  Mass  was  composed  in  1855  for  the 
seventh  anniversary  of  the  "  Association  of  Musical  Art- 
ists," and  was  first  performed  at  the  Church  of  St.  Eus- 
tache  in  Paris,  November  29th  of  that  year;  Gounod 
directing  the  chorus,  Tilmant  the  orchestra,  and  Batiste 
at  the  great  organ.  The  previous  anniversaries  had  been 
celebrated  with  Masses  written  for  the  occasion  by  emi- 
nent composers;  the  first  being  that  of  Niedermeyer  in 
B  minor,  others  by  Adolphe  Adam  and  Ambroise  Thomas, 
and  all  dedicated  to  St.  Cecilia.  The  Sanctus  and  Bene- 
dictus  were,  however,  earlier  compositions,  having  been 
performed  first,  under  Gounod's  direction,  at  one  of  Hul- 
lah's  concerts  in  St.  Martin's  Hall,  London,  in  January, 
1 85 1,  and  the  following  year  in  Paris.  At  this  time 
Gounod's  first  opera  was  in  rehearsal,  and  he  was  com- 
paratively little  known ;  the  Sanctus  made  a  great  impres- 


Choir  and  Music  143 

sion  in  both  capitals  and  was  highly  praised  by  the 
critics,  especially  the  fine  crescendo  which  leads  up  to 
the  resumption  of  the  first  subject  by  chorus  and  full 
orchestra. 

The  Gounod  Mass  was  repeated  on  Whitsunday;  in 
fact  it  was  sung  on  eleven  successive  Ascension  Days, 
and  altogether  seventeen  times  in  eleven  years,  each  time 
with  orchestra.  The  Offertory  was  a  "  Graduale  "  by 
Hummel,  adapted  to  English  words :  it  begins  with  a  solo 
passage  for  three  drums.  It  did  not  seem  necessary  to 
get  an  extra  drum  to  play  one  note  which  occurs  twice 
in  the  piece,  so  we  took  the  liberty  of  altering  the  pas- 
sage, and  playing  it  with  two  drums. 

On  Trinity  Sunday  there  was  nothing  new;  it  was  a 
very  hot  day,  and  the  singing  was  not  good.  There 
was,  however,  a  new  singer,  Henry  Cross,  who  had  sung 
as  a  boy  in  my  first  choir  in  England  about  1853.  He 
came  here  as  alto,  but  soon  decided  to  cultivate  his  natu- 
ral barytone  voice,  and  after  an  interval  returned  to  us 
as  principal  bass;  he  remained  for  a  year,  and  then  re- 
turned to  England.  The  bass  solos  of  this  summer  were 
mostly  sung  by  Mr.  Schwickardi,  a  German  with  a  deep 
and  powerful,  though  rather  rough,  voice,  and  Mr.  Dun- 
kinson. 

The  new  music  of  the  year  1870-71  comprised  five 
Services  and  six  anthems;  the  important  items  have  been 
mentioned,  with  the  exception  of  Greene's  anthem,  "  God 
is  our  hope,"  which  was  then  rather  a  failure.  During 
this  year,  and  since  then,  different  anthems  were  sung 
morning  and  afternoon,  three  each  Sunday,  and  one 
stanza  of  the  Hymn  "  Saviour,  when  in  dust  "  was  sung 
always  before  the  Litany. 


144  Trinity  Church,  New  York 

XXIX 

1871-1872 

In  the  autumn  of  1871  the  Morning  and  Communion 
Services  of  Tours  in  F  came  into  use;  this  Service  was 
first  published  for  unison  singing,  afterwards  in  har- 
monized form,  and  has  been  very  popular. 

We  had  some  good  tenor  solos  at  this  time  from 
W.  E.  G.  Evans,  an  Englishman  with  a  light  voice  of 
agreeable  quality  and  a  refined  style;  the  trebles  were  led 
by  John  Finger,  a  valuable  boy,  who  held  the  post  for 
three  years. 

Mendelssohn's  Te  Deum  and  Jubilate  were  first  sung 
in  October.  Mendelssohn,  who  visited  England  several 
times,  set  himself  to  write  a  Service  after  the  English 
manner,  and  succeeded  admirably;  the  peculiarities  of 
style  were  happily  caught  and  blended  with  Mendels- 
sohnian  melody.  The  Jubilate,  which  is  more  Mendels- 
sohnian  than  Anglican,  usually  finds  most  admirers,  but 
all  is  interesting  and  beautiful.  Gounod  later  tried  his 
hand  at  an  Anglican  Service,  with  less  satisfactory  result : 
the  Te  Deum,  which  we  sang  once  or  twice,  was  found 
tedious,  and  induced  Dr.  Ogilby  to  suggest  "  Go-nod  " 
as  a  fitting  name. 

November  5th  the  late  Bishop  Selwyn,  of  Litchfield, 
preached  at  Trinity  Church;  the  Bishops  of  New  York, 
Wisconsin,  and  Indiana  also  taking  part  in  the  service. 
The  anthem  was  "  How  lovely  are  the  messengers " 
(Mendelssohn). 

The  music  on  Christmas  Day,  1871,  was  all  new,  and 
included  Mozart's  Mass  No.  2,  a  varied  arrangement  of 
"Adeste  Fideles,"  by  H.  G.  Thunder,  of  Philadelphia, 


Arthur  Livingston, 
1869 — 


John   M.   Knapp, 
1865 -1870. 

H.  Bernard  Coombe, 
1874- 
Victor  Baier,  Joseph  Pickslay 

1872 -1877.  1873— 


Choir  and  Music  145 

and  for  Offertory  the  Benedictus  from  Mozart's  12th 
Mass;  the  florid  soprano  part  in  the  last  named  being 
capitally  sung  by  James  Reed,  a  Staten  Island  boy.  The 
choir  on  this  day  numbered  twenty-five,  and  the  orches- 
tra thirty;  a  little  out  of  proportion.  On  the  following 
Sunday,  Attwood's  Cantate  in  D,  a  rather  difficult  and 
florid  Service,  was  one  of  our  successes.  Washington's 
Birthday  was  observed  for  the  last  time,  except  in  the 
Centennial  year. 

The  Offertory  on  Easter  Day,  1872,  was  Mozart's 
Motet  in  D,  the  most  brilliant  of  the  three  which  we 
sing:  all  from  an  early  opera  and  adapted  first  to  Latin 
words.  The  opera  "  King  Thamos  "  was  unsuccessful, 
and  has  long  dropped  out  of  sight,  so  that  we  can  sing 
the  motets  with  an  easy  conscience. 

At  the  rehearsal  for  one  of  these  orchestral  services 
an  awkward  hitch  occurred.  Some  little  time  previously 
Mr.  Morgan  had  got  up  a  concert  for  St.  Ann's  Church, 
Brooklyn.  The  engagements  for  this  concert  were  ex- 
travagant, and  as  it  was  financially  a  failure,  the  orches- 
tra men  were  not  paid  for  their  services.  Under  the 
rules  of  their  "  Protective  Union  "  they  are  forbidden, 
in  such  a  case,  to  play  again  under  the  same  conductor. 
The  same  men  came  to  play  at  our  rehearsal,  and  finding 
that  Mr.  Morgan  was  to  conduct,  every  man  put  up  his 
instrument  and  departed.  Great  was  the  dismay,  but 
something  had  to  be  done;  an  extra  rehearsal  was  ar- 
ranged for  the  next  day,  and  in  the  intervening  hours 
Mr.  Morgan  collected  a  scratch  orchestra  which  did  its 
work  very  well,  so  that  few  persons  were  aware  of  any 
trouble.  Our  practice  is  to  engage,  as  far  as  possible, 
men  from  one  organization,  accustomed  to  playing  to-. 
gether:   this   obviously  tends  to   produce   smoothness   in 


146  Trinity  Church,  New  York 

performance.  The  music  which  we  sing  presents  no 
difficulty  to  men  who  play  Wagner  and  Liszt  all  the  time : 
they  take  it  easily  at  sight,  and  only  occasionally  do  we 
have  to  repeat  a  passage;  the  object  of  the  rehearsal 
being  to  secure  a  good  understanding  in  the  matters  of 
"  tempi  "  and  attack. 

There  has  often  been  difficulty  in  providing  a  harp; 
there  are  probably  not  more  than  six  professional  harpists 
in  this  city  now,  and  fifteen  years  ago  there  were  less. 
In  1869  I  could  find  only  one,  Mr.  Toulmin,  and  he  was 
lent  as  a  great  favor  by  St.  Thomas'  Church  for  our 
Ascension  Day  service.  The  harpist,  on  this  account, 
can  command  a  large  fee.  On  a  later  occasion  I  found 
an  amateur,  who  "  thought  he  could  do  it,"  but  got  so 
hopelessly  bewildered  when  the  moment  for  his  first  chord 
came  that  he  had  to  be  excused  from  further  efforts. 
Most  of  the  harpists  are  English  or  Welsh;  fifty  years 
ago  the  harp  was  a  fashionable  instrument  for  ladies,  and 
was  much  cultivated,  but  it  has  gone  out  of  fashion. 

The  Offertory  on  Ascension  Day,  1872,  consisted  of 
the  two  "  Achieved  "  choruses,  with  the  intervening  trio, 
from  the  "  Creation."  The  principal  tenor  was  Mr.  J.  A. 
Kamping;  Mr.  Remmertz  was  specially  engaged  as  basso, 
and  the  treble  solos  were  divided  between  Finger  and 
Reed.  Excepting  the  Offertory,  there  was  nothing  new 
on  this  or  the  two  following  festivals. 

On  Trinity  Sunday,  F.  W.  Thursch's  name  appears 
as  alto  soloist;  and  in  February,  Victor  Baier's  among 
the  junior  trebles.  Baier  had,  in  1876,  worked  his  way 
up  to  first  place,  which  he  held  for  about  a  year,  until 
his  voice  failed.  His  name  has  now  to  be  added  to  the 
list  of  choir  boys  who  have  distinguished  themselves  as 
organists;  and  in  encouraging  and  assisting  Mr.  Baier 


Choir  and  Music  147 

in  his  musical  studies  I  feel  that  I  did  a  good  work,  and 
have  been  rewarded  by  his  success  and  by  his  faithful 
support  since  we  have  been  associated  at  the  organs  of 
Trinity  Church. 

There  were  changes  among  the  men  this  summer; 
several  new,  though  now  well-known,  names  appeared. 
First,  Mr.  Malin,  famous  for  punctuality:  when  Mr. 
Malin  appeared,  walking  up  the  aisle  for  rehearsal,  there 
could  be  no  doubt  that  the  hour  had  come,  as  well  as  the 
man.  Mr.  Malin  did  good  work  in  the  choir,  remaining 
for  fifteen  years;  then  the  claims  of  family  and  business 
deprived  us  of  his  services  for  a  time;  they  were  happily 
resumed  in  1891.  About  the  same  time  came  Mr.  Fors- 
ter,  tenor,  who,  after  singing  for  a  year,  left  for  fresh 
fields;  returning  for  good,  in  every  sense  of  the  word,  in 
1 88 1 ;  as  an  efficient  and  faithful  member  of  the  choir 
Mr.  Forster  could  hardly  be  replaced. 

The  new  music  of  the  year  comprised  three  Morning, 
two  Communion,  and  one  Evening  Service;  four  English 
and  three  German  anthems. 

The  evening  Canticles  were  still  chanted,  except  in 
festival  seasons ;  the  "  old  chant  "  Gloria  in  Excelsis  still 
used  in  Advent,  Lent,  and  the  summer  months.  The 
gradual  elimination  of  this  relic  of  primeval  Church 
music  furnishes  a  good  scale  of  measurement  in  musical 
progress,  and  in  this  capacity  it  will  still  appear  for  some 
time. 


148  Trinity  Church,  New  York 

XXX 

1872-1873 

At  the  end  of  September  occurred  the  death  of  the 
Rev.  Dr.  Vinton.  The  funeral  service  was  held  at  Trin- 
ity Church,  with  the  usual  music,  Croft  and  Purcell,  and 
on  the  following  Sunday  a  memorial  sermon  was  deliv- 
ered. The  anthem  was  "  Come  unto  me,  all  ye  that 
travail,"  by  Stafford  Smith,  and  the  afternoon  anthem, 
"  Abide  with  me,"  by  Sterndale  Bennett. 

Dr.  Vinton  impressed  his  views  very  firmly  on  the 
services  and  music  of  Trinity  Church:  if  one  was  in- 
clined to  differ  from  them,  one  had  to  give  way,  and  that 
promptly.  Remonstrance  was  generally  useless,  although 
I  contrived  to  resist  or  evade  his  expressed  desire  to  have 
Jackson's  Service  in  F  sung.  And  in  1867,  when  I  was 
carrying  on  the  daily  choral  service,  the  Doctor  ordered 
that  all  the  boys  of  the  regular  choir  should  be  compelled 
to  sing  at  those  services.  This  was  impracticable  then, 
as  now,  under  existing  arrangements,  but  the  Doctor  in- 
sisted ;  after  a  while  he  got  tired  of  the  subject,  and  finally 
told  me  to  do  as  I  pleased  in  the  matter.  Dr.  Vinton's 
experience  at  West  Point  and  in  the  army  had  made  him 
a  strict  disciplinarian :  he  graduated  at  West  Point  at  the 
head  of  his  class;  afterwards  studied  law  and  was  ad- 
mitted to  the  bar;  was  in  active  service  in  the  Creek  war 
in  1836,  and  then  entered  the  Theological  Seminary.  A 
brilliant  career,  which  included  also  the  offer  of  a  Bish- 
opric: and  he  may  be  forgiven  for  admiring  Jackson  in 
F  and  for  being  sometimes  peremptory. 

In  October,  1872,  we  were  singing  a  Morning  Serv- 
ice by  Dr.  Tuckerman,  which  was  much  liked.     He  was 


Choir  and  Music  149 

a  disciple  of  Dr.  Hodges,  took  his  degree  in  England,  and 
in  style  followed  the  cathedral  composers,  with  a  certain 
infusion  of  modern  harmony.  This  service  was  sung  on 
nine  consecutive  Sundays.  m 

It  was  our  custom  to  produce  on  Christmas  Day  a 
new  Mass  which  was  repeated  on  Easter  and  Trinity 
Sundays,  Gounod  being  used  for  Ascension  and  Whitsun- 
days. This  year  the  new  Mass  was  Hummel  in  Eb,  the 
most  intricate  that  we  had  yet  attempted :  solo  and  chorus 
parts  are  alike  difficult,  and  it  must  be  confessed  that,  at 
that  time,  the  music  was  a  little  too  much  for  us.  Some 
dissatisfaction  was  expressed,  and  it  was  not  attempted 
again  for  four  years;  then  it  was  only  partially  success- 
ful, and  was  again  laid  aside  for  eight  years,  by  which 
time,  1884,  we  were  able  to  master  the  difficulties.  At 
the  first  production  in  1872,  in  addition  to  the  four  num- 
bers usually  given,  the  Benedictus  was  sung  entire  at  the 
Offertory,  and  shared  the  fate  of  the  rest. 

Easter  Day,  1873,  was  an  unfortunate  occasion :  there 
was  an  epidemic  of  colds,  and  the  principal  boys  were 
absent.  At  the  High  Celebration  the  treble  solos  were 
taken  by  tenors,  or  by  junior  boys;  we  had  the  greatest 
difficulty  in  getting  through  the  music,  which  was  how- 
ever all  sung,  after  a  fashion.  The  Mass  was  Haydn 
No.  1 ;  anthems  as  in  the  previous  year. 

Since  the  division  of  the  services,  Morning  Prayer  on 
the  festivals  had  been  sung  at  9  a.m.  by  a  small  choir; 
attendance  was  voluntary,  as  the  choir  engagements 
provided  for  two  services  only.  On  this  Easter  Day 
the  singing  at  Morning  Prayer  was  so  bad  that  on 
all  festivals  afterwards  no  music  was  attempted.  Two 
elaborate  services  in  one  day  are  as  much  as  boys  can 
well  stand;  and  it  is  necessary  that  they  should  be  in 


150  Trinity  Church,  New  York 

good  condition  if  the  principal  service  is  to  be  well 
sung. 

Let  us  pass  on  to  Ascension  Day,  by  which  time  the 
boys  had  recovered,  and  the  entire  service  was  in  conse- 
quence well  sung.  The  Offertory  was  Handel's  6th 
Chandos  Anthem.  These  compositions  derive  their  title 
from  the  Duke  of  Chandos,  a  wealthy  English  nobleman 
whose  title  is  now  extinct,  and  whose  splendid  residence 
has  entirely  disappeared.  The  Duke  maintained  an  effi- 
cient choir  for  his  private  chapel,  and  secured  the  services 
of  Handel  as  choirmaster.  The  composer  wrote  for  this 
chapel  a  set  of  twelve  anthems,  known  as  the  Chandos 
Anthems;  they  are  of  larger  design  than  ordinary  an- 
thems, and  of  considerable  difficulty.  The  sixth  contains 
eight  numbers,  of  which  we  sang  five.  The  original  ac- 
companiments were  for  stringed  instruments  only;  but 
parts  for  other  instruments  have  been  added  to  the  four 
which  have  been  republished. 

The  choir  on  this  day  numbered  thirty-six  and  in- 
cluded Mr.  Remmertz;  the  orchestra  also  consisted  of 
thirty-six  men,  besides  a  harpist  in  the  chancel.  Mr. 
Morgan  directed  the  orchestra  for  the  last  time ;  his  health 
had  been  failing,  and  Mr.  Carter,  who  played  on  the  large 
organ  at  this  service,  was  engaged  to  supply  his  place 
temporarily.  He  was  finally  ordered  to  California,  and 
Mr.  Carter  was  appointed  associate  organist. 

Henry  Carter,  born  in  London  in  1837,  was  the  third 
of  four  brothers,  all  prominent  musicians.  At  the  age 
of  nine  he  was  organist  at  Northchurch,  Herts,  England ; 
afterwards  at  Newington  Butts,  London.  He  studied 
under  Sir  John  Goss,  Steggall,  Pauer,  Hiller,  Haupt, 
Kiel,  and  Sir  W.  Sterndale-Bennett.  In  1854  Mr.  Car- 
ter came  over  to  Canada,  and  was  appointed  organist  of 


HENRY   CARTER, 

Associate  Organist, 
I873-I879- 


Choir  and  Music  151 

Quebec  Cathedral ;  his  older  brother  was  already  organist 
of  Toronto  Cathedral,  and  it  happened  shortly  afterwards 
that  the  music  of  all  three  Canadian  cathedrals  was  di- 
rected by  the  three  brothers,  George  Carter  being  at 
Montreal.  Mr.  H.  Carter  conducted  the  first  oratorio 
performed  in  Canada,  and  was  afterwards  organist  at  the 
Church  of  the  Advent,  Boston,  and  St.  Stephen's,  Provi- 
dence, R.  I.,  from  which  place  he  came  to  New  York. 
Mr.  Carter  has  composed  an  orchestral  anthem  of  large 
dimensions,  four  string  quartets,  organ  music,  etc.,  etc. 
His  playing  is  characterized  by  a  fine  technique  and 
great  finish. 

On  June  17th  a  testimonial  concert  was  given  for  Mr. 
Morgan's  benefit,  chiefly  through  the  exertions  of  Mr. 
Carter.  The  first  part  consisted  of  Weber's  Mass  in  G, 
sung  by  members  of  the  Church  Music  Association,  con- 
ducted by  C.  E.  Horsley,  and  accompanied  on  the  organ 
by  Mr.  Carter.  In  the  second  part,  Trinity  Church  choir 
sang  Goss's  "  Wilderness  " ;  there  were  organ  solos  by 
G.  W.  Morgan  and  myself,  vocal  solos,  and  the  Hallelu- 
jah Chorus  for  finale. 

During  the  year  1872-73  the  solo  bass  was  Mr.  Flem- 
ing, a  good  and  reliable  singer,  whose  retirement  in  May, 
1873,  was  caused  by  the  Friday  rehearsal.  He  was  suc- 
ceeded by  Mr.  Cross.  Mr.  Fleming  secured  a  similar 
position  at  Trinity  Chapel,  where  he  remained  several 
years.  The  Rev.  G.  H.  Sterling  was  at  this  time  a  valued 
member  of  the  choir,  remaining  five  years.  In  June, 
1873,  Mr.  Farr  made  his  appearance  as  tenor  soloist,  con- 
tinuing for  five  years,  and  after  an  interval  of  ten  years 
returning  to  us  in  1888. 

The  full  choir  rehearsal  on  Friday  afternoon  has  been, 
and  still  is,  a  source  of  trouble  with  choir  members  who 


152  Trinity  Church,  New  York 

are  engaged  in  other  business;  the  arrangement  dates 
from  time  immemorial,  and  is  for  the  benefit  of  the  boys, 
who  come  from  distant  points,  and  cannot  well  be  taken 
from  home  at  night.  The  rehearsal  used  to  be  held  in 
church,  and  often  in  presence  of  a  small  audience ;  a  prac- 
tice without  precedent,  and  often  inconvenient.  More 
thorough  work  can  be  done  in  a  small  room,  where  faults 
are  easily  noticed,  and  not  swallowed  up  in  the  reverbera- 
tions of  a  large  empty  building. 

The  annual  excursions  of  the  choirs  of  the  Parish 
were  resumed  this  year,  and  continued  regularly  until 
1889.  There  had  been  several  previously  in  the  sixties, 
managed  entirely  by  Dr.  Pech,  organist  of  St.  John's  and 
senior  organist  in  the  Parish.  Under  the  new  plan  now 
inaugurated,  the  general  management  was  shared  by  all 
the  organists;  the  details  of  arrangement  being  at  first 
placed  in  the  hands  of  each  organist  in  turn.  Proper 
accounts  were  kept  and  duly  audited,  Dr.  Gilbert  acting 
as  secretary  and  myself  as  treasurer.  To  suit  all  ages 
and  conditions,  men,  women,  and  children,  it  was  agreed 
that  the  plan  should  include — first,  an  excursion  on  the 
water;  second,  ample  time  for  boys'  games  and  other 
amusements  at  some  country  place  or  excursion  grove; 
third,  music,  with  opportunities  for  dancing  in  the  even- 
ing; and,  fourth,  an  ample  supply  of  provisions.  The 
Vestry  appropriated  $500  yearly  for  this  excursion,  an 
amount  which  allowed  the  arrangements  to  be  carried  out 
on  a  liberal  scale.  The  excursions  were  continued,  with 
occasional  slight  modifications  in  management,  for  seven- 
teen years,  and  then  given  up. 

The  year  1872-73  was  not  one  of  our  good  years;  the 
new  music,  four  Services  and  six  anthems,  was  up  to  the 
usual  standard  in  quality,  but  there  were  too  many  bad 


Choir  and  Music  153 

services.  In  speaking  of  bad  services  it  must  not  be  in- 
ferred that  there  was  actually  a  breakdown  or  perhaps 
even  any  noticeable  confusion;  but  that,  from  a  critical 
point  of  view,  the  singing  was  more  or  less  below  the 
average. 

XXXI 

1873-1874 

A  much  better  account  can  be  given  of  the  following 
year;  in  the  three  months  preceding  Advent  twelve  im- 
portant solo  anthems  were  sung,  four  of  which — by  Pur- 
cell,  Wesley,  Stainer,  and  Spohr — were  new.  The  choir 
was  in  very  good  condition  as  regards  boys  and  men. 
The  leading  trebles  were  Finger,  Myrth,  Terry,  Keller, 
Pickslay,  Baier. 

The  annual  meetings  of  the  choirs  of  Trinity  Parish 
were  inaugurated  in  November  of  this  year,  with  a  serv- 
ice at  Trinity  Chapel,  directed  by  Dr.  Gilbert.  The  music 
was  exclusively  English,  the  anthems  being  by  Tye,  Pur- 
cell,  Croft,  W.  Hayes,  and  Dr.  Gilbert.  These  meetings 
have  been  the  means  of  introducing  and  bringing  into 
use  many  fine  and  interesting  works,  and  have  afforded 
opportunities  for  hearing  good  Church  music  sung  by  a 
comparatively  large  choir.  The  first  anthem  on  the  list 
at  this  meeting  has  been  sung  at  Trinity  Church  over 
forty  times  since. 

The  music  of  Christmas  Day,  1873,  was  all  new — 
Mozart's  1st  Mass,  a  work  of  about  the  same  dimensions 
as  the  2d,  sung  in  1871 ;  of  no  great  difficulty,  but  con- 
taining a  stately  Creed  and  some  fine  passages  in  the 
Gloria — for  Introit,  an  adaptation  from  the  Kyrie  and 


154  Trinity  Church,  New  York 

Dona  of  the  same  Mass,  the  music  of  which  is  so  jubilant 
that  it  fits  the  adapted  words,  "  Christ  is  born  in  Bethle- 
hem," better  than  the  original  setting,  "  Lord  have  mercy  " 
and  "  Grant  us  Thy  peace  " — for  Offertory,  the  Bene- 
dictus  from  Beethoven's  Mass  in  C.  The  "  Agnus  "  in 
Mozart's  Mass,  solo  throughout,  was  beautifully  sung  by 
Morris  Keller,  who  had  a  particularly  sweet  and  sympa- 
thetic voice.  An  Evening  Service  by  J.  H.  Cornell,  sung 
on  the  following  Sundays,  excited  some  interest;  it  is  a 
spirited  setting,  with  the  fine  harmonic  combinations  and 
close  adherence  to  the  text  characteristic  of  this  composer. 

In  January,  1874,  we  had  for  the  first  time  Killer's 
setting  of  Psalm  125,  "  All  they  that  trust,"  and  the  first 
number  of  Mendelssohn's  Psalm  42,  "  As  the  hart  pants." 
In  March  was  commenced  the  practice  of  singing  "  Mag- 
nificat "  at  close  of  the  service  on  the  first  Sunday  of 
every  month;  at  first  a  simple  unison  setting  by  Macfar- 
ren  was  used. 

Until  1881  there  was,  on  Wednesdays  and  Fridays  in 
Lent  and  every  day  in  Holy  Week,  a  service  at  eleven, 
attended  by  the  organist  and  boys.  The  service  consisted 
of  Processionals,  Morning  Prayer,  Litany,  and  Psalm 
130,  with  the  addition  of  a  Celebration  of  Holy  Com- 
munion in  Holy  Week.  In  1874,  to  make  the  services  of 
Holy  Week  more  impressive,  sufficient  men  were  engaged 
to  form  a  complete,  though  small,  choir.  This  arrange- 
ment, first  provided  for  by  a  member  of  the  congregation, 
was,  in  the  following  year,  adopted  by  the  Vestry  and 
made  permanent.  In  1881  the  music  at  Wednesday  and 
Friday  services  was  given  up;  Morning  Prayer  dropped 
from  the  Holy  Week  services,  and  said  earlier  without 
music,  the  object  being  to  induce  a  larger  attendance  by 
shortening  the  service.     I  note  also  that  in  Holy  Week, 


Choir  and  Music  155 

1874,  Gloria  Patri  was  omitted  as  far  as  possible,  and 
that  on  Good  Friday  there  were  no  Processionals. 

Easter  Day,  1874,  the  anthems  were  new,  and  both 
by  Handel ;  the  Introit  consisting  of  the  first  two  choruses 
from  "Saul"— "How  excellent"  and  "Hallelujah"; 
the  Offertory,  another  of  the  Chandos  Anthems,  No.  12. 
This  is  less  interesting  than  the  6th,  previously  sung,  and 
has  not  been  repeated. 

Ascension  Day,  1874,  was  a  grand  occasion,  and  the 
service  of  that  day  lives  in  my  memory  as  the  finest  that 
we  have  ever  had.  The  choir  was  increased  to  40  voices 
by  the  engagement  of  eleven  extra  singers — 2  trebles, 
1  alto,  2  tenors,  and  6  basses;  some  additional  tem- 
porary desks  being  put  up.  The  orchestra  numbered 
36,  including  a  harp  in  the  chancel,  which  was  used 
in  both  anthems,  as  well  as  in  the  Creed,  Agnus,  and 
Gloria.  The  Mass  was,  as  usual,  Gounod's  St.  Cecilia; 
the  Sanctus  sung  by  the  Rev.  W.  H.  Cooke.  The  open- 
ing anthem,  Mendelssohn's  98th  Psalm,  is  a  large  work 
in  four  movements,  of  which  the  first  two  are  double 
choruses  without  accompaniment.  In  these  the  time  and 
pitch  were  kept  with  accuracy,  and  the  final  chorus,  with 
accompaniment  of  orchestra,  was  very  effective.  This 
work  was  composed  for  a  festival  service  in  Berlin  Ca- 
thedral, New  Year's  day,  1844.  The  offertory  was 
Barnby's  "  King  all  glorious,"  solos  by  Messrs.  Farr  and 
Cross;  other  soloists  during  the  day  were  Keller,  Terry, 
Baier,  Pickslay,  Leidel  (trebles),  Smedley  (alto),  Mc- 
Pherson  (tenor),  Dunkinson  (bass).  In  correctness,  pre- 
cision, and  spirit  this  service  has  never  since  been  sur- 
passed, or,  indeed,  equaled. 

The  offertory  on  Trinity  Sunday  must  be  mentioned 
on  account  of  the  brilliant  singing  of  Henry  Leidel,  a  boy 


156 


Trinity  Church,  New  York 


with  a  voice  of  remarkable  compass  and  power.  It  con- 
sisted of  a  solo  and  choruses,  including  the  Hallelujah, 
from  Beethoven's  "  Engedi  " ;  the  solo  is  long,  difficult, 
and  runs  up  to  D  in  alt.  To  have  accomplished  this  suc- 
cessfully, accompanied  by  a  distant  orchestra,  is  no  small 
feat  for  a  boy;  and  it  was  well  done.  Some  rapid  runs 
were  modified  or  omitted;  but,  with  this  exception,  every 
note  was  sung  in  the  entire  selection,  of  which  the  chorus 
part  is  also  very  exacting. 

The  year  just  described  was  remarkable  for  the  quan- 
tity and  quality  of  the  music  sung,  as  well  as  for  the  gen- 
eral excellence  of  the  choir  work.  New  anthems  by  the 
following  composers  were  given:  Handel,  Mozart,  Beet- 
hoven, Mendelssohn,  Spohr,  Hiller,  Gounod,  Purcell, 
Wesley,  Stainer — fifteen  anthems  and  five  Services.  The 
trebles  were  unusually  good,  and  included  six  good  solo 
boys ;  on  two  consecutive  Sundays  in  Lent  the  "  Angel 
Trio  "  from  Elijah  was  sung,  each  time  with  a  different 
set  of  boys.  The  other  departments  were  no  less  efficient ; 
and  I  think  that  the  entire  choir  of  this,  our  most  brilliant 
year,  should  be  recorded. 

Treble. 


Finger 

Pickslay 

J.  Bishop 

Keller 

Gough 

J.  Irvine 

Leidel 

Baker 

Beylick 

Baier 

E.  Schmitt 

Drew 

Terry 

Siemon 

B.  Coombe 

Alto. 

Tenor. 

Bass. 

Smedley 

Fair 

Cross 

Malin 

Coombe 

Dunkinson 

J  Ward 
(  Haven 

Lindig 

Sterling 

Livingston 

Rawlins 

McPherson 

Zingsheim 

Dewey 

Armstrong 
Prentice 

Choir  and  Music  157 

Although  there  was  a  variety  of  anthem  music  sung 
during  this  year,  the  Service  music  was  changed  only 
with  the  season.  Smart's  Communion  Service  in  F  was 
sung  for  two  months  in  Trinity  season,  then  at  Epiph- 
any, and  again  after  Easter — twenty-two  times  in  seven 
months;  a  unison  Service  in  Advent,  and  Plainsong  in 
Lent.  On  Saints'  Days  the  Communion  Service  was  al- 
ways Tours  in  F. 

In  June,  Mr.  Cross,  solo  bass,  returned  to  England. 
Before  his  departure,  a  farewell  concert  was  given  him 
by  Trinity  Church  choir  at  Association  Hall;  the  choir 
sang  three  of  their  best  anthems,  also  "  The  marvelous 
work  "  with  solo  by  Leidel,  and  two  secular  pieces.  There 
were  other  attractions,  but  the  audience  was  very  small. 


XXXII 

1874-1875 

In  October  a  junior  choir  boy,  Gideon  L.  Drew,  died 
from  injuries  received  in  getting  off  a  ferryboat.  The 
family  attended  Trinity  Church,  and  the  boy  was,  from 
his  amiable  disposition,  a  general  favorite.  He  was  buried 
at  Greenwood,  after  a  full  choral  service  at  the  Church, 
at  which  six  Clergy  and  nearly  the  whole  choir  officiated, 
with  both  organists.  Six  retired  choir  boys  acted  as  pall 
bearers;  and  the  coffin  was  covered  with  flowers  by  the 
organist  and  boys,  all  of  whom  accompanied  the  remains 
to  the  cemetery.  A  similar  service  was  held  in  the 
following  Spring  at  the  funeral  of  another  junior  boy, 
Robert  Baier. 

The  choir  festival  of  this  year  was  held  at  St.  John's 


158  Trinity  Church,  New  York 

Chapel,  and  directed  by  C.  E.  Horsley.  The  music  was 
again  entirely  English,  including  compositions  by  Gib- 
bons, Aldrich,  Boyce,  Crotch,  Sterndale-Bennett,  and 
Horsley.  At  these  meetings  the  anthems  have  always 
been  arranged  in  chronological  order,  beginning  with  an 
example  from  the  earliest  English  composers.  The  most 
interesting  novelties  on  this  occasion  were  the  anthems 
of  Gibbons  and  Bennett.  Horsley's  anthem  was  a  well- 
written,  but  very  long,  work  in  the  style  of  Mendelssohn. 

During  Advent  the  services  were  accompanied  on  the 
large  organ:  as  the  chancel  organ  was  taken  to  pieces, 
and  then  fitted  with  new  action. 

On  Christmas  Day,  1874,  the  new  Mass  was  Schubert 
in  Bb;  the  first  by  that  composer  which  we  took  up. 
Being  very  melodious  and  simple  in  construction,  it  was 
well  suited  for  our  use,  and  gave  great  satisfaction.  In 
the  offertory,  venturing  on  different  ground,  we  were 
much  less  successful.  For  this,  a  selection  was  made  from 
Bach's  Christmas  Oratorio,  consisting  of  a  short  portion 
of  the  Pastoral  Symphony,  two  Chorales,  some  Recita- 
tive, and  one  large  Chorus.  It  was  our  first  attempt  at 
Bach's  music,  and  was  unfortunate.  A  banner  was  car- 
ried in  procession  for  the  first  time:  one  of  the  Sunday- 
school  banners  being  borrowed  for  the  purpose. 

From  Septuagesima  to  the  end  of  Lent  the  offertory 
was  Redhead's  setting  of  "  Holy  Offerings."  A  copy  of 
this  Hymn  was  brought  from  England  by  one  of  the 
vestrymen  and  given  to  me.  It  was  received  with  extraor- 
dinary favor  by  our  congregation ;  and  has  made  its  way, 
words  and  music,  all  over  the  country. 

In  Lent,  1875,  some  good  anthems  were  sung — "  By 
the  waters  of  Babylon"  (Boyce);  "Lord,  how  long," 
from  Psalm  13  (Mendelssohn),  solo  by  James  Ward,  a 


Choir  and  Music  159 

boy  with  a  fine  resonant  alto  voice ;  "  Hear  my  prayer  " 
(Mendelssohn),  solo  by  Leidel,  and  previously  by  V. 
Baier ;  the  last  chorus  of  Bach's  "  St.  Matthew  Passion  " ; 
and  on  Good  Friday,  Mendelssohn's  22d  Psalm:  the  last 
two  being  new,  and  for  double  chorus. 

The  Easter  anthems  were  new — the  Introit  a  chorus 
from  Handel's  Belshazzar;  the  offertory,  Psalm  100,  by 
V.  Lachner,  a  light  and  agreeable  composition  which  we 
have  many  times  used  since  then;  the  solos  were  taken 
by  J.  Pickslay,  who  was  developing  a  voice  of  good  qual- 
ity, and  Mr.  Farr.  The  Schubert  Mass  was  repeated, 
and  the  music  went  off  well. 

But  days  would  come  when  a  soloist  would  be  ill, 
the  boys  flat,  and,  from  one  cause  or  another,  nothing 
would  be  satisfactory.  Such  a  day  came  on  the  first 
Sunday  after  Easter;  when  a  Hymn  was  substituted  for 
anthem,  Gloria  in  Excelsis  was  chanted,  and  the  music 
throughout  the  day  was  spiritless  and  poor.  Possibly 
April  weather  affected  the  choir;  at  all  events  there  was 
soon  a  reaction;  and  the  Ascension  Day  service,  if  not 
equal  to  that  of  the  previous  year,  was  well  up  to  the 
average.  In  Easter  season  we  sang  a  new  Te  Deum  by 
F.  A.  Mann,  which  is  recorded  as  bad  every  time:  the 
music  is  so  full  of  changes,  both  in  time  and  in  combina- 
tion of  voices,  that  the  singers  seemed  all  the  time  uncer- 
tain of  what  they  had  to  do  next.  Although  troublesome, 
this  Te  Deum  is  effective  at  many  points;  and  at  a  later 
period  we  made  a  good  thing  of  it. 

On  Ascension  Day,  1875,  the  procession  passed  down 
the  south  aisle  and  up  the  centre,  singing,  with  organ 
accompaniment,  Barnby's  stirring  Hymn,  "  We  march  to 
victory  " ;  on  previous  anniversaries  the  choir  had  pro- 
ceeded direct  to  their  places,  singing  an  ordinary  short 


160  Trinity  Church,  New  York 

Hymn.  The  offertory  consisted  of  five  numbers  from 
Hiller's  "  Song  of  victory,"  a  work  full  of  originality 
and  power,  written  to  commemorate,  from  the  German 
point  of  view,  the  close  of  the  German-French  war  in 
1870.  Gounod,  at  the  same  period,  gave  expression  to 
the  feelings  of  the  French  nation  in  a  setting  of  "  De 
profundis." 

Among  the  soloists  on  Ascension  Day  the  name  of 
Mr.  Henry  Price  first  appears,  he  having  entered  the 
choir  on  the  1st  of  May.  Mr.  Price  has  retained  the  posi- 
tion of  solo  bass  ever  since;  and  it  is  not  too  much  to 
say  that  his  excellent  voice  and  fine  method  have  made 
his  solos  one  of  the  chief  attractions  of  our  music. 

The  Ascension  Day  services,  with  the  dinner  follow- 
ing, were  occasions  of  much  enthusiasm  and  excitement; 
at  one  of  them  a  member  of  the  choir,  Mr.  F.  Keppel, 
produced  some  verses,  three  stanzas  of  which  I  shall  pre- 
serve from  oblivion  by  inserting  here: 

THE   CHORISTER'S   JUBILEE 

Ascension  Day  with  Spring  comes  sharp, 

Farewell  to  Winter's  blue  nose, 
Welcome  to  orchestra  and  harp, 

And  "Solemn  Mass"  of  Gounod's. 

This  day  of  flowers,  and  lights,  and  sound, 

We  soldiers  take  possession, 
And  "march  to  victory"  round  and  round, 

All  in  a  long  procession. 

Hail  to  the  day!  hail  to  the  time! 

(Each  cassock  like  a  sack  on  us.) 
All  hail  to  Music,  grand,  sublime! 

She  never  will  "go  back  on  us." 


Choir  and  Music  161 

On  Whitsun  Day  there  was  a  novelty,  in  the  shape 
of  a  motet  by  Haydn.  This  piece,  originally  set  to  Latin 
words,  "  Insanae  et  vanae  curse,"  has  been  three  times 
provided  with  English  words ;  our  version,  "  Let  God 
arise/'  was  made  by  myself  for  this  occasion.  The 
words  generally  sung,  "  Distracted  with  care  and  an- 
guish," although  following  the  original,  are  less  fitted 
for  Church  use. 

Stainer's  splendid  anthem,  "  I  saw  the  Lord,"  was 
sung  for  the  first  time  on  Trinity  Sunday.  Stainer's 
music,  always  closely  fitting  the  words,  always  attractive 
and  agreeable  to  sing,  here  reaches  inspiration,  and  a 
grander  illustration  of  the  text,  within  the  limits  of  an 
English  anthem,  seems  impossible.  The  anthem  was 
scored  for  orchestra,  with  a  short  introduction,  by  John 
P.  Morgan,  who  was  at  this  time  at  Santa  Barbara,  still 
working,  though  he  never  recovered  his  health. 

The  new  Hymnal  was  taken  permanently  into  use  on 
this  day,  Trinity  Sunday,  1875,  and  has  been  used  ex- 
clusively ever  since.  The  book  was  first  issued  in  1872, 
but  afterwards  received  some  corrections  and  additions; 
as  soon  as  finally  authorized  by  the  General  Convention, 
it  was  adopted  here,  displacing  Hymns  Ancient  and 
Modern. 

The  new  music  introduced  during  the  year  1874-75 
comprised  nine  English  anthems,  by  Aldrich,  Sterndale- 
Bennett,  Stainer  (2),  Barnby,  Benedict,  Reay  (2),  and 
Gadsby;  nine  German  anthems,  by  Handel,  Bach  (2), 
Haydn,  Mendelssohn  (3),  Hiller,  Lachner;  2  Morning, 
2  Communion,  and  1  Evening  Services. 


1 62  Trinity  Church,  New  York 

XXXIII 

1875-1876 

In  July,  1875,  occurred  the  funeral  of  Mr.  George  T. 
Strong,  Senior  Warden  and  Comptroller  of  the  Parish, 
and  a  distinguished  amateur  of  music.  Mr.  Strong  took 
much  interest  in  the  music  of  the  Parish,  and  was  a 
regular  attendant  at  Trinity  Church,  although  he  dis- 
liked English  music,  and  used  to  say  that  it  had  no  mean- 
ing. His  models  were  Haydn  and  Mozart;  and  on  re- 
turning from  a  trip  to  England  he  brought  two  volumes 
of  adaptations  (Pratt)  from  the  masses  of  these  com- 
posers, which  he  presented  to  the  choir  library.  They 
have  not  been  used,  for  these  adaptations  are  now  out 
of  date  and  useless,  though  they  were  at  one  time  sung 
in  the  English  cathedrals,  and  served  to  make  known  the 
Mass  music  of  Haydn  and  Mozart  in  the  only  way  then 
possible. 

At  the  funeral  service,  in  response  to  a  request  from 
the  family  for  something  by  Mozart,  the  "  Agnus  "  from 
his  first  Mass  was  sung  by  Morris  Keller  after  the  lesson ; 
in  other  respects  the  music  was  as  usual. 

Mr.  Strong  had  been  an  active  supporter  of  the  Gov- 
ernment during  the  war,  and  his  funeral  was  attended 
by  President  Grant  and  many  other  distinguished  per- 
sons. The  President  entered  by  the  choir  door,  passing 
between  two  lines  of  the  choir  in  cassocks,  and  was  con- 
ducted, looking  very  uncomfortable,  to  a  seat  in  the 
clergy  room,  where  he  remained  for  a  few  minutes  be- 
fore the  service.  While  sitting  there  he  was  approached 
by  Mr.  Clarke,  sexton  of  Trinity  Chapel,  who  seized  him 
by  both  hands  and  fervently  blessed  him.     The  President 


Choir  and  Music  163 

appeared  to  be  much  impressed,  and  it  was  afterwards 
learned  that  he  took  Mr.  Clarke  for  the  late  Bishop  Potter. 

In  memory  of  Mr.  Strong,  Spohr's  quartet,  "  Blest 
are  the  departed,"  was  the  first  anthem  sung  at  the  choir 
festival  in  November.  This  took  place  at  St.  Paul's 
Chapel,  and  was  directed  by  J.  H.  Cornell,  then  organist ; 
the  St.  Paul's  choir  occupying  their  usual  places  in  the 
organ  gallery,  and  the  other  choirs  extended  in  double 
or  triple  lines  for  about  half  the  length  of  the  north  and 
south  galleries.  A  procession  was  impossible,  so  no  pro- 
cessional was  sung,  and  no  surplices  worn.  The  anthems, 
after  the  first,  were  of  the  English  school,  by  Creyghton, 
Greene,  Wesley,  Ouseley,  and  Cornell.  Mr.  Cornell's 
anthem  has  a  beautiful  flowing  quartet,  contrasting  well 
with  declamatory  choruses. 

In  October,  the  Sanctus  and  Gloria  from  Schubert's 
Mass  in  C  were  sung  several  times,  but  transposed  into 
the  key  of  Bfc>;  also  a  new  anthem  by  Gounod,  "Sing 
praises  unto  the  Lord,"  composed  during  his  residence 
in  London.  It  is  similar  in  plan  and  style  to  Mr.  Cor- 
nell's anthem,  just  described — two  declamatory  choruses 
separated  by  a  melodious  quartet.  Gounod's  choruses  are 
perhaps  the  more  interesting  of  the  two;  but  his  quartet 
is  not  equal  to  Cornell's. 

The  service  of  Christmas  Day  can  be  referred  to  with 
much  satisfaction.  The  music  was  all  new  and  specially 
attractive,  as  frequent  repetitions  have  proved.  The  new 
Mass  was  Weber  in  Eb,  a  work  of  much  beauty,  and 
fairly  ecclesiastical  in  character,  which  cannot  be  said  of 
his  other,  and  more  popular,  Mass  in  G.  The  anthem 
was,  "  O  sing  to  God,"  by  Gounod,  sung  throughout  by 
boys'  voices,  the  solos  being  taken  by  Pickslay  and  Ward. 
Music  for   children's  voices  has   always  seemed  to  me 


164  Trinity  Church,  New  York 

especially  fitting  for  the  Christmas  season;  and  the  same 
idea  may  possibly  have  been  in  Gounod's  mind.  This 
anthem  has  been  arranged  for  mixed  voices,  and  fre- 
quently sung  in  that  shape,  but  the  true  effect  is  lost. 
The  offertory  on  Christmas  Day,  Gade's  Cantata,  "  Hei- 
lige  nacht,"  was  heard  for  the  first  time  with  English 
words,  which  were  written  for  us  by  F.  W.  Rosier.  The 
solos,  all  for  alto  or  mezzo-soprano  voice,  were  divided 
between  Mr.  Smedley  and  Victor  Baier.  Considering 
the  great  beauty  of  this  composition,  it  is  remarkable  that 
it  has  been  so  little  used;  for  although  the  choruses  are 
in  eight  parts,  the  individual  parts  are  easy  to  read  and 
sing.  Both  anthems,  Gounod  and  Gade,  provide  much 
employment  for  the  harp;  fortunately  we  had  one  on  this 
day,  in  addition  to  the  usual  orchestra,  and  a  new  effect 
was  given  to  the  processional,  "  Come,  all  ye  faithful," 
by  a  harp  accompaniment  to  the  third  stanza,  and  orches- 
tral accompaniment  to  the  last.  From  this  year  the  after- 
noon service  on  Christmas  Day  was  said  without  music. 

During  Epiphany  season,  1876,  Wesley's  great  an- 
them, "  The  wilderness,"  was  sung  twice ;  the  second 
time  with  much  success.  It  is  too  difficult  to  be  often 
attempted,  but  has  been  given  once  since,  in  1886. 

1876  was  the  Centennial  year  of  the  United  States,  and 
on  that  account  the  national  anniversaries  received  spe- 
cial attention  at  Trinity  Church,  beginning  with  Wash- 
ington's Birthday.  The  observance  of  that  day,  given 
up  in  1872,  was  resumed  for  this  year  only.  The  service 
included  Processional  Hymns  307  and  406,  Psalms  for 
the  day,  Benedicite  and  Jubilate;  for  anthem,  No.  2  of 
Hiller's  "  Song  of  victory,"  solo  by  J.  Irvine,  followed 
by  the  "  Hallelujah  "  of  Beethoven ;  an  address  by  the 
Rector,  after  which  was  sung  the  Te  Deum  to  the  music 


Choir  and  Music  165 

of  F.  A.  Mann.  The  entire  choir  attended,  numbering 
32,  and  the  instrumental  accompaniment  was  furnished 
by  the  organs. 

The  more  important  celebration  of  the  year  was  re- 
served for  the  fourth  of  July,  but  before  proceeding  to 
describe  that,  some  intervening  events  of  interest  may  be 
noticed;  and  first,  the  funeral  service  of  C.  E.  Horsley, 
organist  of  St.  John's  Chapel,  which  was  held  at  Trinity 
Church  on  the  2d  of  March.  Deputations  from  all  the 
choirs  of  the  Parish  assisted;  the  choir  of  St.  John's  sur- 
rounded the  coffin,  just  outside  the  chancel,  and  took  no 
part  in  the  singing.  In  the  chancel  were  the  choirs  of 
Trinity  Chapel  and  Trinity  Church,  with  the  men  of  St. 
Paul's  choir.  The  Rector  officiated,  assisted  by  seven  of 
the  parish  Clergy.  The  Croft-Purcell  Service  was  sung 
by  our  choir  alone ;  the  "  anthem  "  and  hymns  by  the 
united  choirs.  There  was  a  very  large  attendance  of 
musicians  and  other  friends  of  the  deceased  organist. 

Charles  Edward  Horsley  was  a  distinguished  English 
musician  and  composer,  and  came  of  a  talented  family. 
His  father,  William  Horsley,  was  a  well-known  composer 
of  glees,  some  of  which  are  still  popular;  and  his  uncle 
was  a  painter,  of  national  reputation.  C.  E.  Horsley 
composed  oratorios,  chamber  music,  etc.,  etc.,  of  which 
much  has  been  published.  He  was  a  pupil  of  Mendels- 
sohn, with  whom  the  Horsley  family  were  on  intimate 
terms. 

In  Lent,  Purcell's  Benedicite  was  sung  five  times;  as 
it  requires  two  quintets,  ten  solo  voices,  besides  the 
chorus,  it  is  not  a  work  to  be  lightly  undertaken.  The 
plainsong  responses  were  also  taken  into  use  for  the  peni- 
tential season. 

On  Easter  Day  we  had  a  new  anthem,  written  spe- 


1 66  Trinity  Church,  New  York 

cially  for  us  by  C.  E.  Horsley — his  last  composition;  in 
fact,  he  completed  only  the  vocal  score,  the  orchestration 
being  supplied,  at  his  request,  by  Caryl  Florio.  The 
anthem  consisted  of  a  stately  introduction,  with  a  long 
fugue;  it  was  found  rather  heavy,  and  was  not  a  suc- 
cess; though  the  service  of  that  day  was,  on  the  whole, 
a  good  one. 

On  Ascension  Day  the  favorite  processional  march, 
"  O  Zion,  blest  city,"  from  Dr.  Hiles'  "  Crusaders,"  was 
first  sung;  it  has  had  many  repetitions,  and  has  been 
taken  up  in  many  other  places.  The  opening  anthem 
was  Handel's  double  chorus  from  Solomon,  "  Your  harps 
and  cymbals  raise " ;  and  the  offertory,  Mendelssohn's 
Psalm  114,  a  long  and  difficult  work,  also  for  double 
chorus  throughout.  The  two  anthems  were  quite  a  seri- 
ous undertaking  for  a  choir  of  thirty-seven  voices;  but 
we  appear  to  have  been  fairly  successful  with  them,  at 
all  events  we  got  through  to  our  own  satisfaction. 

Whitsunday  the  offertory  was  Spohr's  Psalm  84, 
"  How  lovely  are  Thy  dwellings,"  which  was  new,  except 
the  first  number.  The  solos  were  taken  by  Victor  Baier, 
Messrs.  Smedley,  Farr,  and  Dunkinson;  and  the  entire 
work  received  a  good  and  effective  interpretation,  espe- 
cially the  third  number,  which  requires  good  singing  to 
be  at  all  acceptable,  and  is  in  an  unusual  form;  a  bass 
solo  in  the  lower  register  throughout,  and  trio  for  treble, 
alto,  and  tenor.  Only  at  the  close  are  the  four  voices 
heard  together;  the  bass  voice  sustains  the  lowest  part 
in  the  harmony,  which  is  filled  up  by  the  wood-wind 
instruments.  The  other  three  voices,  generally  in  the 
high  registers,  then  have  a  flowing  melody,  treated  in 
the  manner  of  a  fugue,  and  with  an  independent  contra- 
puntal accompaniment  by  the  strings.     This  antiphonal 


Choir  and  Music  167 

effect  is  repeated  twice  in  varied  form;  and  finally,  in  a 
kind  of  coda,  the  four  voices  are  combined:  a  most  inter- 
esting and  original  movement. 

XXXIV 

1876 

We  come  now  to  the  celebration  of  the  100th  anni- 
versary of  the  Declaration  of  Independence,  July  4,  1876. 
For  this  occasion  the  Vestry  desired  as  grand  a  service 
as  could  be  had,  the  chief  feature  of  which  was  to  be  a 
Te  Deum  on  a  large  scale,  with  orchestral  accompani- 
ment; for  the  cost  of  this  service  an  appropriation  of 
$500  was  made.  The  selection  of  the  music  was  a  matter 
for  long  consideration :  for  a  national  festival  it  was  most 
desirable  that  at  least  some  portion  of  the  music  should 
be  of  native  production;  to  carry  out  this  idea  Mr.  J.  H. 
Cornell  consented  to  furnish  an  anthem  with  organ  ac- 
companiment. Mr.  F.  Rietzel  also  composed  for  the 
occasion  a  march  for  orchestra,  which  was  played  at 
close  of  the  service. 

For  the  most  important  feature  of  the  service  a  large 
number  of  Te  Deums,  German,  French,  and  English,  were 
examined;  and  finally  Sullivan's  was  selected  as  possess- 
ing the  requisite  elements  of  sufficient  dignity  combined 
with  popular  features.  This  composition  contains  seven 
numbers,  and  takes  about  thirty-five  minutes  in  perform- 
ance. St.  Ann's  tune  is  used  as  a  principal  theme,  being 
prominent  especially  in  the  last  number;  and  the  1st 
Gregorian  Tone  is  the  chief  subject  of  the  third  num- 
ber, "  The  glorious  company."  There  are  two  important 
solos,  both  for  soprano  voice;  one,  in  which  the  chorus 


1 68  Trinity  Church,  New  York 

is  combined  with  solo,  the  other  sustained  throughout  by 
the  single  voice.  The  first  and  last  numbers  have  each 
a  fugue,  but  neither  is  worked  out  at  such  a  length  as 
to  become  tiresome  to  the  listener.  In  the  last  number 
a  military  band  is  introduced;  and  at  this  point  a  very 
dramatic  effect  was  produced  at  the  first  performance  of 
the  work,  in  England,  by  the  band  being  heard  marching 
up  from  a  distant  point.  It  was  not  possible  to  produce 
that  effect  in  our  service,  but  the  parts  for  military  band 
were  played  by  the  wind  instruments  of  the  orchestra. 
This  Te  Deum  was  written  to  celebrate  the  recovery  of 
the  Prince  of  Wales  from  a  serious  illness,  and  was  first 
performed  at  the  Crystal  Palace,  Sydenham,  on  the  ist 
of  May,  1872. 

The  orchestra  at  our  service  numbered  thirty-six;  the 
only  addition  to  the  usual  force  consisting  of  a  bass  Tuba. 
The  choir  numbered  forty-three — 20  trebles,  7  altos,  8 
tenors,  8  basses — and  included  the  regular  choir  of  thirty 
voices,  three  boys  and  two  men  from  St.  John's  Chapel, 
four  basses  and  four  tenors  (Messrs.  F.  Harvey,  Ellard, 
O'Reilly,  and  Macpherson)  from  other  choirs.  The  or- 
chestra was  directed  by  Mr.  Carter,  and  Mr.  Le  Jeune 
officiated  at  the  large  organ. 

The  most  important  solo  in  the  Te  Deum  was  assigned 
to  Mr.  F.  Harvey,  tenor ;  it  requires  a  voice  of  large  com- 
pass and  power,  and  would  have  proved  rather  a  strain 
upon  a  boy  under  the  circumstances.  The  other  impor- 
tant solo,  "  To  Thee,  Cherubim,"  was  sung  by  H.  Ber- 
nard Coombe,  soprano,  whose  voice  was  at  that  time  in 
fine  condition,  and  whose  singing  in  this  number  left 
nothing  to  be  desired.  A  third  and  short  solo  was  taken 
by  Victor  Baier,  then  leader  of  the  trebles. 

Mr.  Cornell's  anthem  consisted  of  an  opening  chorus, 


Choir  and  Music  169 

trio,  recitative  sung  by  Mr.  Macpherson,  tenor;  and  a 
closing  chorus  founded  on  the  8th  Gregorian  tone,  all  the 
movements  being  short. 

The  complete  programme  for  the  day  was  as  follows : 


7.30.  Celebration  of  Holy  Communion  )  w-tuout 
o.    Morning  Prayer.  ) 


music. 


Special  Service  at  i  i  a.m. 

Processional  Hymn  307. — "Before  the  Lord  we  bow." 
Psalm  145. — Chant. 
Lesson. — Isaiah  55. 

Jubilate Smart  in  G 

Apostles'  Creed. 

Versicles  and  Responses,  adapted  from  the  English  Prayer  Book. 
Collects. 

Anthem. — Isaiah  xxvi,  Verses  1,  12,  15  .       .       .       .  J.H.Cornell 
Joel  ii,  Verses  21,  26. 
Isaiah  xii,  Verses  4,  5. 

In  that  day  shall  this  song  be  sung  in  the  land :  We  have  a  strong 
city;  Salvation  will  God  appoint  for  walls  and  bulwarks. 

Lord,  Thou  wilt  ordain  peace  for  us :  for  Thou  also  hast  wrought 
all  our  works  in  us. 

Thou  hast  increased  the  nation,  O  Lord,  Thou  hast  increased  the 
nation :  Thou  art  glorified :  Thou  hast  removed  it  far  unto  all  the  ends 
of  the  earth. 

Fear  not  O  land,  be  glad  and  rejoice ;  for  the  Lord  will  do  great 
things. 

And  ye  shall  eat  in  plenty  and  be  satisfied,  and  praise  the  name  of 
the  Lord  your  God,  that  hath  dealt  wondrously  with  you;  and  ye 
shall  know  that  I  am  the  Lord  your  God,  and  none  else. 

And  in  that  day  shall  ye  say :  Praise  the  Lord,  call  upon  His  Name, 
declare  His  doings  among  the  people;  make  mention  that  His  name 
is  exalted. 

Sing  unto  the  Lord,  for  He  hath  done  excellent  things:  this  is 
known  in  all  the  earth. 
Address,  by  the  Rector. 


i7°  Trinity  Church,  New  York 

TE  DEUM Sullivan 

Benediction,  by  the  Right  Rev.  the  Bishop  of  New  York. 
Recessional  Hymn  308. — "Lord  God,  we  worship  Thee." 
Voluntary. — Centennial  March Riclzel 

My  record  states  that  the  music  was  well  sung 
throughout;  and  on  this  point  I  may  quote  from  the 
Year  Book  of  1877:  "  The  performance  of  this  Te  Deum 
by  full  choir,  soloists,  organs  and  orchestra,  was  all  that 
was  to  be  expected  or  could  have  been  wished.  .  .  .  The 
effect  was  suddenly  enhanced,  and  rendered  inexpres- 
sibly grand  by  the  sound  of  the  noon-day  salute  from 
the  forts  and  men-of-war  in  the  harbour,  the  roar  of  the 
heavy  artillery  beginning  as  the  choir  reached  the  words 
'  Heaven  and  earth  are  full  of  the  Majesty  of  Thy 
glory,'  and  so  continuing  in  an  accompaniment  like  muf- 
fled thunder  far  along  the  course  of  the  all  but  inspired 
words  of  that  grandest  of  all  hymns  of  the  Church." 

This  service  was  not  attended  by  any  Government 
officials,  either  National,  State,  or  Municipal ;  it  was,  how- 
ever, a  worthy  celebration  of  the  Nation's  anniversary, 
and  was  an  event  to  be  remembered  with  pleasure  and 
pride  by  all  who  took  part. 

During  the  year  thus  brilliantly  closed  the  new  music 
produced  was  above  the  average  as  regards  quantity  and 
importance.     The  new  anthems  were: 

Mendelssohn. — Psalm  114. 
Spohr. — Psalm  84. 
Gade. — Christmas  Cantata. 
Gounod. — "O  sing  to  God." 
Wesley. — "The  wilderness." 
Horsley. — "Now  is  come  salvation." 
with  ten  others. 


Choir  and  Music  171 

Of  the  six  new  Services,  Weber's  Mass  in  Eb  and  Pur- 
cell's  Benedicite  were  the  most  important. 

The  Year  Book  for  1876  gives  some  particulars  of 
the  music  of  Trinity  Church,  which  may  here  be  sum- 
marized, after  careful  revision  and  correction: 

"  During  the  year  from  Advent  1874  to  Advent  1875, 
there  were  sung  25  different  Services  and  72  different 
anthems — 

18  English  Services. 
5  German      "      (Masses). 

2  Plain  song  " 

40  English  anthems. 

29  German      "      (Oratorio  selections). 

3  Gounod      " 

Counting  repetitions,  there  were  173  anthems  sung  in  the 
twelve  months,  averaging  over  14  for  each  month. 

From  Ascension  Day,  1870,  to  the  summer  of  1876, 
there  had  been  32  orchestral  services;  at  which  had  been 
sung  7  Masses,  32  anthems  and  1  Te  Deum. 

The  choir  library  is  stated  to  contain  at  that  time: 

61  Services,  with  vocal  parts. 
187  Anthems     "  " 

30  Orchestral  scores. 
12  volumes,  Anthems  and  Services. 
70  Single  copies. 

This  represents  the  accumulations  of  ten  years,  as  in 
1866  there  was  nothing. 

Among  the  boys,  Morris  Keller,  last  mentioned  as 
leader,  retired  in  August,  1875,  and  was  succeeded  by 
Leidel,  who  reigned  for  two  months  only,  J.  Pickslay  for 
five  months,  and  in  February,  1876,  by  Victor  Baier,  who 
held  the  post  for  a  year  and  a  half.     Alto  boys  were 


172  Trinity  Church,  New  York 

James  Ward  and  Warren  Hedden,  both  clever  boys  with 
good  voices;  Ward  had  the  best  voice  and  Hedden  the 
most  talent.  With  Messrs.  Smedley  and  Malin  the  alto 
department  was  in  good  condition.  Tenors  were  Messrs. 
Farr,  Coombe,  Lindig,  Livingston,  and  Thursch,  four  of 
whom  had  previously  served  as  trebles  or  altos  or  both 
in  succession;  the  basses  were  Messrs.  Price,  Dunkinson, 
Sterling,  and  Zingsheim. 


XXXV 

1876-1877 

On  recommencing  work  the  choir  was  called  upon  to 
take  part  at  the  ceremony  of  laying  the  foundation  stone 
of  St.  Augustine's  Chapel,  in  Houston  Street,  on  the  2d 
of  September. 

The  choirs  of  Trinity,  St.  John's,  and  St.  Augustine's 
Chapels  and  of  Trinity  Church  were  combined  on  this 
occasion,  all  assembling  in  the  room  in  the  Bowery  where 
services  had  for  some  time  been  held.  After  being  vested, 
the  Clergy  and  choirs  marched  in  procession,  each  choir 
with  its  banner,  to  the  site  in  Houston  Street. 

The  musical  part  of  the  service  consisted  of  Psalm 
122  and  the  anthem  at  Institution  of  Ministers,  to  chants; 
Tallis'  responses,  two  hymns,  and  Gloria  in  Excelsis  to 
the  Old  Chant.  There  had  been  no  united  rehearsal,  and 
the  singing  was  very  rough ;  a  year  later  our  choir  sang 
at  the  consecration  of  the  completed  chapel. 

The  annual  service  by  the  combined  choirs  of  the  Par- 
ish was  held  this  year  at  Trinity  Chapel,  under  the  di- 


Choir  and  Music  173 

rection  of  Dr.  Gilbert:  all  the  music  was  English;  the 
anthems  being  by  Farrant,  Clarke,  Boyce,  Leslie,  Best, 
and  Dr.  Gilbert. 

In  Advent  an  interesting  novelty  was  part  of  Schu- 
mann's Advent  Hymn,  of  which  we  sang  about  one 
third;  the  first  three  movements,  treble  solo  and  chorus, 
and  a  little  of  the  finale.  This  very  interesting  work 
was  composed  in  1848,  not  long  after  "  Paradise  and 
the  Peri." 

On  Christmas  Day,  1876,  the  anthems  were  the  same 
as  in  the  year  before;  and  the  Mass  was  Hummel  in  Eb, 
which  had  been  attempted  without  success  in  1872.  This 
time  the  chorus  work  seems  to  have  been  good,  but  the 
difficult  solos  did  not  receive  justice:  the  Mass  was  again 
laid  aside,  and  not  repeated  at  Easter.  Garrett's  Evening 
Service  in  Eb,  first  sung  on  the  following  Sunday,  has 
not  lost  its  interest  after  fifteen  years. 

On  Twelfth  Night,  January  6,  1877,  a  grand  concert 
was  given  on  behalf  of  St.  Ignatius'  Church,  of  which 
Dr.  Ewer  was  then  Rector.  At  this  concert  the  combined 
choirs  of  Trinity  Parish  took  part,  by  permission  of  the 
Rector,  with  Gilmore's  band  and  Madame  Pappenheim, 
a  celebrated  prima  donna.  The  concert  was  held  in  the 
22d  Regiment  armory  in  Fourteenth  Street — an  atrocious 
place  to  sing  in,  and  only  fit  for  a  brass  band. 

The  combined  choirs  sang  a  carol  by  Dr.  E.  G.  Monk, 
"  See  the  morning  star,"  and  a  part-song  by  Calkin, 
"  Up,  brothers,  up,  the  wind's  in  the  north,"  the  latter 
accompanied  by  the  band.  Trinity  Church  choir  sang 
also  Gade's  cantata,  "  Heilige  nacht,"  accompanied  by 
the  Gilmore  band,  string  and  wind,  F.  W.  Thursch  play- 
ing the  harp  part  on  a  piano.  It  was  intended  that  the 
solos  in  this  cantata  should  be  sung  by  James  Ward,  alto, 


174  Trinity  Church,  New  York 

but  his  voice  was  failing,  and  they  were  assigned  to  Mr. 
Price,  basso,  who  thereby  gained  the  title  of  "  the  seraph 
in  goloshes."  The  solos  are  supposed  to  be  sung  by  a 
"seraph,"  and  goloshes  (English  for  rubbers  or  gums) 
were  pretty  generally  in  use  that  night,  as  the  weather 
was  bad. 

In  that  vast  room  the  singing  of  our  choir  made 
about  as  much  effect  on  the  listeners  as  a  music  box 
would  in  an  ordinary  room.  The  cause  of  charity  was 
doubtless  benefited  by  the  exhibition  of  the  Trinity  Par- 
ish choirs  in  a  concert  room,  if  we  may  so  call  the  huge 
armory,  but  from  a  musical  point  of  view,  the  efforts  of 
the  choirs  and  work  entailed  on  the  choirmasters  were 
thrown  away. 

Returning  to  our  regular  work,  the  next  event  of  in- 
terest occurs  in  Lent,  when  the  whole  of  the  "  Seven  last 
words,"  set  to  music  by  Haydn,  were  sung;  one  number 
each  Sunday  afternoon,  with  the  last  on  Good  Friday. 
This  work,  in  its  original  form,  consisted  of  seven  long 
movements  in  slow  time,  for  orchestra  alone:  one  to 
follow  the  recitation  of  each  of  the  "  Words  "  of  our 
Saviour  on  the  cross.  It  was  composed  by  request  for 
the  Cathedral  of  Cadiz,  Spain,  where  such  an  arrange- 
ment was  a  regular  part  of  the  functions  of  Holy  Week. 
Haydn  afterwards  added  parts  for  soli  and  chorus,  and 
an  intermezzo  without  words.  This  version  was  pub- 
lished in  Germany  in  1801,  with  German  and  Italian 
words;  and  in  England  in  1830,  with  Italian  words. 
Both  words  and  music,  as  now  sung,  are  solemn  and 
affecting;  the  music  is  difficult,  but  appropriate. 

This  year  Benedicite  was  used  exclusively  in  Lent, 
but  Gloria  in  Excelsis  was  sung,  except  in  Holy  Week, 
to  the  "  old  chant."     In  the  "  Churchman's  Choral  Com- 


Choir  and  Music  175 

panion,"  described  earlier  in  this  book,  the  "  old  chant " 
is  ascribed  to  "  R.  Taylor,  Edin.  Coll." ;  it  is  not  older, 
in  my  opinion,  than  the  beginning  of  this  century,  and  may 
have  come  from  Scotland,  passing  through  the  arrang- 
ing hands  of  R.  Taylor,  who  was  a  New  York  musician 
of  no  great  skill,  judging  from  his  work  in  the  aforesaid 
book.  It  was  formerly  used  for  the  Te  Deum,  as  well 
as  the  Gloria  in  Excelsis. 

On  Easter  Day,  Schubert's  Mass  in  F  was  sung  for 
the  first  time;  this  was  the  first  Mass  composed  by  Schu- 
bert, in  1814,  when  he  was  only  eighteen  years  old.  It 
is  one  of  his  best,  and  abounds  in  beautiful  melody  and 
fine  harmonic  combinations.  We  had  also,  at  the  offer- 
tory, a  new  motet  by  Haydn,  to  which  I  set  the  words 
of  the  Easter  anthem,  "  Christ  our  Passover " ;  it  is  a 
work  little  known  and  of  no  great  value. 

On  Easter  Monday  the  last  service  in  the  old  choir 
was  sung,  for  immediately  afterwards  the  chancel  was 
boarded  up  and  extensive  alterations  begun.  Temporary 
accommodation  for  officiating  Clergy  was  made  outside 
the  barrier;  but  the  choir  was,  on  the  following  Sunday, 
relegated  to  the  organ  gallery,  where  the  entire  service 
was  sung  as  usual,  including  processional  hymns,  though 
surplices  were  not  worn.  The  duty  of  accompanying  was 
shared  by  Mr.  Carter  and  myself.  This  arrangement 
lasted  for  three  Sundays  only,  after  which  the  services 
were  discontinued,  and  the  church  closed  until  June  29th, 
St.  Peter's  Day. 

On  this  day  there  was  a  low  Celebration  at  7  a.m.; 
morning  prayer  at  9,  without  music;  and  at  11  a  special 
Dedication  service,  with  celebration  of  Holy  Communion. 
The  procession  of  Clergy  and  choir,  with  the  Bishop  of 
the  Diocese,  passed  down  the  south  aisle  and  up  the  cen- 


176  Trinity  Church,  New  York 

tre,  chanting  Psalms  48  and  132.  The  remainder  of  the 
service  was  as  follows: 

Litany. 

Versicles  and  Responses  L,.    .. 

_  >  Dedication  service. 

Collects  ) 

Hymn  282. — "Christ  is  made  the  sure  foundation." 

Kyrie Schubert 

Creed. — Monotone. 

Hymn  289.— "From  that  all  dwell." 

Offertory. — "I  was  glad" Horsley 

Sanctus  and  Gloria  in  Excelsis,  in  F       .       .       .  Schubert 

Recessional  Hymn  431. — "Round  the  Lord,  in  glory  seated." 

The  choir  numbered  thirty-four;  in  the  Horsley  anthem 
the  solo  part  was  taken  by  Mr.  F.  Harvey,  specially  en- 
gaged, and  the  quartet  by  Bernard  Coombe,  Messrs. 
Smedley,  Harvey  and  Price;  the  quartet  in  Schubert's 
Gloria  in  Excelsis  was  the  same,  except  that  Mr.  Farr 
was  the  tenor.  I  was  absent,  having  only  a  few  days 
before  been  disabled  by  an  accident;  and  the  entire  serv- 
ice was  accompanied  on  the  great  organ,  a  hazardous 
undertaking,  which  was  skilfully  carried  out  by  Mr.  Car- 
ter. The  singing  was  good,  and  everything  passed  off 
well.  In  the  afternoon  there  was  a  plain  choral  service, 
sung  by  the  boys  alone,  F.  W.  Thursch  accompanying  on 
the  chancel  organ. 

The  services  were  continued  the  next  day,  Saturday, 
with  a  plain  Celebration  at  7;  and  at  II,  morning  prayer 
and  Holy  Communion,  with  a  choir  of  twenty-nine.  The 
music  was  again  accompanied  on  the  great  organ  alone, 
and  consisted  of  processional  hymns,  Te  Deum,  and  Jubi- 
late to  Calkin  in  Bb,  Communion  Service  to  Mozart  No.  1 ; 
anthems  were,  "I  will  magnify"  (Goss)  and  the  first 
movement  of  Lachner's   100th  Psalm.     On  the   Sunday 


Choir  and  Music  177 

this  music  was  repeated,  with  the  Horsley  anthem  in  the 
afternoon. 

The  alterations  in  the  chancel  included  new  choir 
seats  and  desks,  giving  accommodation  for  about  eight 
more  singers;  and  the  new  buildings  provided  a  conve- 
nient robing  room,  with  ample  closets  for  vestments. 
One  can  hardly  imagine  now  the  inconvenience  and  un- 
pleasantness of  the  old  arrangements,  when  the  men  had 
to  robe  in  the  little  Hobart  Chapel  and  the  boys  in  the 
lobby,  with  a  draft  of  cold  air  striking  their  defenseless 
heads  whenever  the  door  was  opened;  then  to  straggle 
in  single  file  through  the  narrow  passage  to  the  Clergy 
side,  reforming  there  as  best  they  could.  For  seventeen 
years  this  was  the  weekly  choir  experience;  even  now  we 
are  hard  pressed  to  accommodate  a  second  choir,  not  hav- 
ing the  advantage  of  adjoining  schoolrooms,  as  in  the 
other  churches  of  the  parish. 

Considering  that  two  months  of  services,  including 
three  festivals,  were  deducted  from  the  year's  work,  the 
amount  of  new  music  makes  a  good  showing — six  Serv- 
ices and  sixteen  anthems.  In  the  new  anthems  the  Ger- 
man element  slightly  exceeds  the  English,  and  the  same 
is  true  of  the  previous  year.  During  the  past  year  a 
number  of  new  boys  had  entered  the  choir;  among  them 
were  the  brothers  McGrayne,  Charles  Baier,  H.  L.  Case, 
Oscar  Schmitt,  Handforth,  James  Hedden,  and  Faucon. 
Most  of  these  afterwards  distinguished  themselves  as 
soloists.  On  the  first  of  August,  Victor  Baier  retired 
from  the  post  of  leader,  and  was  succeeded  by  John 
Bishop,  who  sang  treble  for  nearly  seven  years.  New 
basses  of  this  period  were  Messrs.  Wiltshire,  Dear,  and 
Palmer;  and  for  a  few  months  J.  Kreuttner,  an  accom- 
plished Bavarian  musician  and  linguist,  who  had  a  store 


178  Trinity  Church,  New  York 

of   interesting   reminiscences   of   Wagner,   under   whose 
direction  he  had  sung  at  Munich. 

In  the  spring  of  this  year,  1877,  tne  choir  lost  its 
faithful  attendant,  W.  Halsey;  many  will  remember  the 
colored  blower,  who  also  had  charge  of  what  he  called 
the  "  overplusses."  Halsey  had  served  in  that  capacity 
for  about  eighteen  years,  having  been  appointed  by  Dr. 
Cutler.  A  quaint  specimen  of  humanity,  though  faithful 
and  reliable,  he  was  much  missed;  and  at  his  funeral 
service  in  Trinity  Church  part  of  the  choir  attended  and 
sang  the  "  Anthem  "  and  hymns.  In  June  he  was  suc- 
ceeded by  A.  Irvine,  who  has  continued  up  to  the  present 
time. 

"O  brother  with  the  supple  spine, 

How  much  we  owe  those  bows  of  thine! 

Without  thine  arm  to  lend  the  breeze, 

How  vain  the  fingers  on  the  keys! 

Tho'  all  unmatched  the  player's  skill, 

Those  thousand  throats  were  dumb  and  still. 

Another's  art  may  shape  the  tone, 

The  breath  that  fills  it  is  thine  own." 

Dr.  O.  W.  Holmes. 


XXXVI 

1877-1878 

During  July  of  this  year,  1877,  services  were  kept  up 
at  the  regular  standard;  on  the  8th,  Mendelssohn's  Te 
Deum  and  Jubilate,  and  a  new  Evening  Service,  Ouseley 
in  A,  were  sung,  with  Crotch's  anthem,  "  Sing  we  mer- 
rily." In  August  there  was  some  relaxation,  the  usual 
summer  practice  of  reduced  choir  and  simple  music  being 
the  rule. 


Choir  and  Music  179 

By  the  middle  of  September  the  entire  choir,  thirty- 
three  in  number,  was  at  work  again;  and  in  the  eleven 
weeks  before  Advent  some  good  anthems  were  sung,  in- 
cluding three  new  ones. 

On  St.  Andrew's  Day  a  part  of  the  choir,  twenty- 
three  voices,  furnished  the  music  at  the  consecration  of 
St.  Augustine's  Chapel.  The  service,  consisting  of  Morn- 
ing Prayer  and  Holy  Communion,  was  only  partly  choral ; 
there  was  no  processional,  and  responses  and  amens  were 
sung  only  in  the  Communion  Service.  The  entire  pro- 
gramme was  as  follows: 

Venite. 

Psalms  84,  122,  132. 

Te  Deum  and  Jubilate Boyce,  in  A 

Introit. — Hymn  278. 

Kyrie  and  Sanctus Walter,  in  A 

Hymn  277. — Eucharistic  Hymn  207. 

Offertory. — "  How  lovely  are  thy  dwellings  "     .       .       .      Spohr 

Gloria  in  Excelsis Old  chant 

Recessional  Hymn  303. 

The  solo  in  the  offertory  was  sung  by  H.  Bernard 
Coombe. 

The  fifth  annual  service  by  the  combined  choirs  took 
place  at  St.  John's  Chapel,  and  was  directed  by  Mr.  G.  F. 
Le  Jeune,  who  succeeded  C.  E.  Horsley  as  organist.  The 
music  consisted  of  a  new  Communion  Service  by  Mr.  Le 
Jeune  and  four  anthems  by  Farrant,  Kent,  Goss,  and 
Stewart,  respectively. 

The  service  of  Christmas  Day,  1877,  was  held  under 
changed  conditions:  the  Rector  and  Vestry  having  de- 
cided that,  from  this  time,  the  use  of  an  orchestra  was  to 
be  confined  to  Ascension  Day;  and  that,  on  the  other 


180  Trinity  Church,  New  York 

festivals,  the  orchestral  accompaniments  were  to  be  exe- 
cuted on  the  nave  organ. 

We  had  attained  considerable  success  in  combining 
orchestra  and  choir,  separated  by  the  length  of  the 
church ;  this  was  done  by  strict  adherence  to  the  rule  that 
the  two  conductors  must  watch  each  other  and  be  guided 
by  the  eye,  not  by  the  ear.  This  rule  being  observed,  the 
sounds  from  the  two  ends  of  the  church  will  be  produced 
simultaneously,  and  will  strike  the  ear  simultaneously  at 
a  point  about  equidistant  from  each  end.  At  all  other 
points  there  must  be  a  discrepancy  in  time,  but  it  will  be 
slight,  and  most  noticeable  at  the  points  most  distant  from 
the  "  focus."  The  choir,  being  at  the  extreme  distance, 
will  feel  the  discrepancy  most,  and  can  avoid  its  influ- 
ence only  by  carefully  watching  the  conductor's  baton. 
It  is  our  aim  at  all  times  to  "  focus  "  the  sounds  from 
the  combined  organs  and  choir  at  about  the  centre  of  the 
church,  in  order  to  reduce  the  discrepancy  to  a  minimum. 

At  the  ordinary  services,  where  there  are  no  conduct- 
ors, and  the  ear  is  the  only  guide,  the  difficulty  becomes 
greater,  and  the  burden  of  it  falls  most  heavily  on  the 
organist  in  the  gallery,  not  only  because  the  choir  is  the 
more  important  element,  but  also  because  a  body  of  sing- 
ers without  conductor  is  more  unwieldy  than  an  organ. 
The  performer  at  the  large  organ  must  resolutely  play 
a  beat  or  so  in  advance  of  the  sounds  reaching  him  from 
the  chancel;  and  after  a  passage  played  by  the  large 
organ  alone,  the  choir  must  enter  a  little  before  the  ap- 
parently right  moment. 

It  will  be  plain  from  the  above  remarks  that  the 
chances  were  unfavorable  for  a  good  performance,  for 
the  first  time,  of  Beethoven's  Mass  in  C,  which  had 
been    selected    for    Christmas    Day.      Probably    simpler 


Choir  and  Music  181 

music  would  have  been  chosen,  but  the  change  of  service 
plan  was  not  announced  until  preparations  were  well 
under  way. 

The  service  was  a  bad  one;  some  parts,  especially  the 
Sanctus,  nearly  approached  a  complete  breakdown,  and 
the  only  redeeming  feature  was  the  offertory,  "  O  sing 
to  God,"  of  Gounod.  This  being  entirely  sung  by  boys' 
voices,  was  probably  accompanied  on  the  chancel  organ. 
The  failure  of  the  music  generally  was  due,  not  to  the 
unskilfulness  of  any  of  the  participants,  but  to  the  attempt 
to  sing  difficult  music  under  extra-hazardous  conditions. 
The  instructions  were  emphatic  and  distinct  that  the 
accompaniments  should  be  played  on  the  large  organ, 
and  that  the  usual  method  of  accompanying  would  not 
be  acceptable. 

The  choir  this  day  numbered  forty — 3  additional 
tenors  and  2  basses  engaged  for  the  service,  and  the 
regular  choir  of  16  men  and  20  boys. 

Epiphany  was  signalized  by  the  introduction  of  the 
third  and  finest  part  of  Gade's  "  Zion,"  a  work  of  re- 
markable beauty  and  appropriateness.  This  part  opens 
with  a  long  barytone  solo,  "  Merciful  and  tender  is  the 
Lord  " ;  a  chorus  of  trebles  and  altos  then  enters  with 
the  words,  "  Bethlehem,  thou  art  not  the  least,"  followed 
by  a  long  and  powerful  chorus  in  two  movements.  The 
musical  themes  are  as  beautiful  as  the  treatment  is  in- 
teresting. This  work  was  written  for  the  Birmingham 
festival  of  1876. 

In  March  we  lost  the  Rev.  Dr.  Ogilby,  who  died  on 
the  25th  of  that  month,  sincerely  mourned  by  all  who 
had  come  under  the  influence  of  his  kind  heart  and  cheer- 
ful disposition.  The  funeral  service  was  held  at  Trinity 
Church,  with  the  usual  music;  and  on  the  following  Sun- 


182 


Trinity  Church,  New  York 


day,  when  a  memorial  sermon  was  delivered  by  the  Rec- 
tor, the  anthems  were  "  The  souls  of  the  righteous " 
(Macfarren)  and  "Blest  are  the  departed"  (Spohr), 
and  in  the  afternoon  Boyce's  anthem,  "  If  we  believe," 
the  duet  for  alto  and  bass  sung  by  Messrs.  Smedley  and 
Price. 

Dr.  Ogilby  was  not  a  musical  critic,  and  made  no  pre- 
tensions in  that  direction;  but  he  always  felt  and  showed 
great  interest  in  the  choir,  collectively  and  individually. 
He  had  a  strong  sense  of  humor,  and  his  witty  sayings, 
delivered  with  a  grave  face  and  the  well-known  twinkle 
of  the  eye,  were  always  effective.  He  did  not  spare  him- 
self, as  the  following  anecdote  will  show.  The  Doctor 
lived  on  Staten  Island ;  and  as  he  was  going  home  on  the 
boat  one  Sunday,  after  preaching  in  the  afternoon,  it 
began  to  rain.  A  member  of  the  choir,  also  on  the  boat, 
and  anxious  for  the  Doctor's  comfort,  came  up  and  said, 
"  O  Doctor,  I  have  been  looking  everywhere  for  a  dry 
place  on  which  you  can  sit."  Quoth  the  Doctor,  "  Dry! 
Why  I  have  my  sermon  in  my  pocket,  and  will  sit  on 
that." 

On  a  very  hot  Sunday  morning  he  called  me  into  the 
Clergy  room  before  service,  and  gravely  said :  "  Mr.  Mes- 
siter,  I  hope  that  you  are  going  to  give  us  music  with 
plenty  of  air  in  it  to-day." 

These  anecdotes  show  only  one  side  of  the  Doctor, 
and  that  only  superficially;  beneath  this  were  the  simple- 
minded  goodness  and  unbounded  charity  which  will  be 
remembered  so  long  as  memory  remains. 

On  Easter  Day,  1878,  the  Beethoven  Mass  was  not 
repeated,  but  Mozart's  No.  1  substituted;  anthem  and 
offertory  being  from  Hiller's  "  Song  of  victory."  The 
treble  solos  were  divided  between  Bernard  Coombe,  John 


Choir  and  Music  183 

McGrayne,  and  Paul  Stucke.  In  the  afternoon  the  duet, 
"  O  death,  where  is  thy  sting,"  with  the  following  chorus 
from  the  Messiah,  were  first  sung.  On  this  day  a  set  of 
Altar  books  and  brass  desk  were  presented  to  the  church 
as  an  Easter  offering  from  the  choir,  and  in  the  follow- 
ing year  a  pair  of  crystal  and  silver  cruets.  The  idea 
was  originated,  and  the  work  of  collecting  subscriptions 
undertaken,  by  the  Rev.  E.  R.  Armstrong,  then  a  student 
in  the  Seminary  and  a  volunteer  member  of  the  choir. 
During  the  Easter  season  Schubert's  Mass  in  F  was  twice 
sung,  though  much  shortened  to  bring  it  within  the  limits 
of  the  usual  Sunday  service.  There  were  also  a  new  Te 
Deum  and  Jubilate  by  Dr.  Hiles,  very  long  and  elabo- 
rate; the  first  part  of  Gade's  "  Zion,"  and  Elvey's  fine 
anthem,  "  In  that  day." 

On  Ascension  Day,  Gounod's  St.  Cecilia  Mass  was 
again  sung,  and  the  accompaniments  were  orchestral,  but 
without  harp.  The  chief  interest  of  the  day's  music  lay 
in  the  anthem  and  offertory,  both  strikingly  beautiful 
compositions.  The  anthem  was  "  Great  is  Jehovah,"  one 
of  Schubert's  inspirations,  sung  then  for  the  first  time. 
This  was  originally  composed  as  a  tenor  song  with  piano- 
forte accompaniment  (Die  Allmacht) ;  Schubert  partly 
arranged  it  afterwards  as  a  chorus  for  men's  voices, 
but  did  not  finish  it.  The  arrangement  was,  however, 
completed  by  Liszt,  who  also  scored  it  for  orchestra, 
elaborating  in  a  most  ingenious  way  Schubert's  original 
accompaniment.  The  arrangement  for  mixed  voices  was 
made  by  myself,  and  followed  Liszt,  with  only  the  neces- 
sary redistribution  of  vocal  parts.  The  tenor  solo  was 
sung  by  Mr.  Farr,  and  the  effect  of  the  whole  was  great. 
The  offertory  consisted  of  Part  3  of  Gade's  "  Zion,"  which 
had  been  already  sung  with  organ,  but  was  now  heard 


1 84 


Trinity  Church,  New  York 


with  its  proper  accompaniments,  disclosing  all  its  beauty; 
the  long  and  difficult  solo  was  finely  sung  by  Mr.  Price. 
The  Sanctus  in  Gounod's  Mass  was  again  sung  by  the 
Rev.  W.  H.  Cooke;  and  other  soloists  were  Coombe,  Mc- 
Grayne,  and  Case,  trebles;  McPherson,  tenor;  and  Dun- 
kinson,  bass.  The  choir  numbered  forty-two,  eight  of 
whom  were  specially  engaged;  and  the  orchestra  thirty- 
five. 

On  Whitsunday  the  Communion  Service  was  Schu- 
bert in  Bb,  with  organ  accompaniment;  and  there  were 
two  new  anthems,  "  God  came  from  Teman,"  by  Steggall, 
and  "  The  Lord  maketh  a  way,"  part  of  an  anthem  by 
Henry  Smart,  of  such  large  dimensions  that  it  furnishes 
us  with  three  anthems  of  considerable  length.  On  this 
day  we  gave  the  concluding  part,  consisting  of  two  cho- 
ruses and  a  quartet. 

On  Tuesday  of  this  week  the  Right  Rev.  Dr.  Seymour 
was  consecrated  Bishop  of  Springfield,  at  Trinity  Church. 
Nearly  the  whole  choir  attended,  and  the  music  was  ap- 
propriate, but  all  familiar. 

Trinity  Sunday,  under  the  new  arrangements,  the 
service  was  on  the  ordinary  plan,  consisting  of  Morning 
Prayer,  Litany,  and  Holy  Communion.  The  music  in- 
cluded Schubert's  Mass  in  Bb,  Mozart's  3d  Motet,  and 
Stainer's  "  I  saw  the  Lord  " ;  all  considerably  shortened. 

The  new  music  of  the  year  closing  at  this  date  com- 
prised four  Services,  Beethoven's  Mass  in  C,  Haydn's 
short  Mass  No.  7,  and  two  Anglican.  Of  the  thirteen 
new  anthems,  six  were  English,  and  seven  from  the  works 
of  Haydn,  Handel,  Mendelssohn,  Schubert,  Gade,  and 
Gounod.  In  the  choir  there  were  few  changes  this  year: 
John  Bishop  was  still  leader  of  the  trebles,  the  soloists 
being  Coombe,  John  McGrayne,  Stucke,  and  H.  L.  Case. 


Choir  and  Music  185 

The  last  named,  one  of  our  most  clever  and  brilliant  boy 
singers,  was  rapidly  becoming  prominent,  but  had  not 
yet  reached  his  best  period.  Messrs.  Smedley  and  Malin, 
with  three  boys,  ably  sustained  the  alto  department;  and 
for  tenor  and  bass  there  were  the  well-known  names  of 
Farr,  Coombe,  Livingston,  Forster,  Price,  and  Dunkin- 
son,  with  others. 


XXXVII 

1878-1879 

From  the  summer  of  1878  to  Christmas  I  find  noth- 
ing calling  for  special  notice.  There  were  three  anthems 
every  Sunday,  two  of  them  being  generally  solo  anthems ; 
but  they  were  all  more  or  less  familiar,  with  one  excep- 
tion, a  hymn  by  Mozart  for  quartet  and  chorus  with 
string  accompaniment.  To  this  I  had  set  the  words  of  the 
hymn  "  Guide  me,  O  Thou  great  Jehovah."  There  was 
also  some  new  service  music,  not  of  special  importance. 

The  sixth  annual  service  by  the  united  choirs  took 
place  at  Trinity  Chapel;  the  Magnificat  was  by  Dr.  Gil- 
bert, who  directed,  and  the  six  anthems  sung  were  com- 
positions of  Tye,  Croft,  Travers,  Sterndale-Bennett,  Goss, 
and  Dr.  Gilbert.  As  these  were  mostly  full  anthems, 
without  solo  parts,  a  contrast  was  afforded  by  the  intro- 
duction of  a  solo  for  tenor,  composed  by  Mr.  H.  Carter 
and  sung  by  Mr.  Toedt. 

On  Christmas  Day  there  was  nothing  new;  the  Mass 
was  Haydn's  No.  1,  with  Thunder's  arrangement  of 
"  Adeste  fideles  "  and  an  offertory  from  Gade.  Haydn's 
1st  Mass  is  always  heard  with  pleasure  and  sung  with 


1 86  Trinity  Church,  New  York 

pleasure:  it  has  interesting  work  for  all  the  voices,  the 
themes  are  striking,  and  their  treatment  varied  and 
concise. 

The  new  Mass  was  this  year  given  at  Easter  (1879), 
Gounod's  Mass  of  the  Sacred  Heart,  the  second  by  this 
composer  which  we  had  so  far  sung.  Much  shorter  than 
the  St.  Cecilia,  it  has  many  beauties  and  some  peculiari- 
ties, such  as  the  opening  of  the  Gloria  in  Excelsis,  where 
the  voices  continue  on  one  note  for  forty-four  measures, 
supported  by  a  simple  figure  of  accompaniment. 

The  Mass  was  a  recent  composition,  having  been  pro- 
duced under  Gounod's  direction  at  St.  Eustache,  Paris, 
in  November,  1876.  It  is  stated  that  the  crowd  was  so 
great  on  this  occasion  that  a  choir  boy  who  was  to  sing 
the  solo  part  in  the  Benedictus  could  not  get  to  his 
place,  and  the  treble  solo  was  sung  by  Gounod  himself 
in  falsetto.  In  November,  1879,  the  Mass  was  given  at 
Antwerp,  and  made  such  an  impression  that  the  Munici- 
pal Council  ordered  a  street  to  be  named  after  the  com- 
poser. It  had  already  been  heard  in  this  city,  at  a  night 
performance  in  St.  Stephen's  (R.  C.)  Church,  directed 
by  H.  G.  Thunder,  and  accompanied  by  organ  and  quartet 
of  brass  instruments. 

The  Easter  offertory  was  the  Duet,  "  Love  divine," 
and  chorus  from  Stainer's  "  Daughter  of  Jairus,"  the 
former  sung  by  Charles  Honig  and  Mr.  Devon,  an  Eng- 
lish tenor,  both  of  them  recent  acquisitions. 

On  the  24th  of  April  the  funeral  of  General  Dix  was 
held  at  Trinity  Church,  and  was  attended  by  a  great 
number  of  distinguished  persons.  Eminent  as  General 
Dix  was  in  the  capacities  of  statesman,  soldier,  and 
scholar,  his  great  charm  was  a  graciousness  of  manner 
which  made  it  a  pleasure  for  anyone,  however  humble, 


Choir  and  Music  187 

to  be  brought  in  contact  with  him.  The  General  was  for 
several  years  Comptroller  and  junior  warden  of  the  par- 
ish, and  a  member  of  the  vestry  for  a  long  period.  The 
full  choir  attended  at  the  funeral  service,  and  in  addition 
to  the  usual  music,  sang,  by  request,  the  hymn  "  Rise, 
my  soul,  and  stretch  thy  wings,"  to  the  arrangement  by 
Dr.  Hodges  of  the  choral  theme  in  Beethoven's  9th 
Symphony. 

On  the  second  Sunday  after  Easter  we  sang  Dr. 
Hodges'  Evening  Service  in  C;  it  had  not  been  heard 
for  nearly  twenty  years,  and  was  the  first  in  a  series  of 
the  Doctor's  compositions  which  we  from  time  to  time 
revived. 

On  the  first  of  May  Mr.  Carter  retired  from  the  posi- 
tion of  associate  organist,  which  was  from  that  time 
discontinued,  his  successor  being  appointed  as  assistant 
organist.  Some  little  time  passed  before  an  appointment 
was  made,  various  organists  officiating  at  the  nave  organ 
for  one  or  more  services,  though  most  often  only  one 
organ  was  used.  Among  those  who  had  occasionally 
played  was  Mr.  F.  E.  Lucy-Barnes,  then  living  in  Mon- 
treal; his  performance  and  way  of  handling  the  organ 
were  at  once  recognized  as  masterly,  and  he  received  the 
appointment,  commencing  duties  on  the  17th  of  August, 
on  which  day  he  played  the  whole  of  both  services  on  the 
chancel  organ. 

Frederic  Edwin  Lucy-Barnes  was  the  son  of  a  well- 
known  professor  of  music  in  London,  England,  and  was 
born  there  in  1858.  In  his  ninth  year  he  entered  the 
choir  of  the  Chapel  Royal,  and  afterwards  was  a  student 
in  the  Royal  Academy  of  Music.  He  was  also  pupil  and 
assistant  of  Sir  G.  A.  Macfarren,  and  in  that  capacity 
wrote  down  from  dictation  many  compositions  of   Pro- 


1 88  Trinity  Church,  New  York 

fessor  Macfarren,  who  was  blind.  In  1872,  when  four- 
teen years  old,  Mr.  Barnes  was  appointed  organist  of  All 
Saints'  Church,  Norfolk  Square,  London;  and  in  1876 
of  St.  Margaret's,  Princes  Square,  Liverpool,  where  a 
very  ornate  form  of  service  prevailed.  In  1878,  after  a 
competitive  examination  by  the  organist  of  the  Temple 
Church,  he  was  chosen  as  organist  of  the  English  Cathe- 
dral at  Montreal.  Passing  through  New  York  on  his 
way,  he  heard  a  service  at  Trinity  Church,  and  made  up 
his  mind  then  that  a  position  there  was  the  thing  to  be 
desired.  Consequently,  on  hearing  that  there  was  an 
opening,  he  at  once  came  to  New  York,  and  had  no  diffi- 
culty in  securing  the  appointment. 

Mr.  Barnes  was  a  highly  gifted  and  thoroughly 
trained  musician,  as  well  as  a  most  eloquent  performer 
on  the  organ.  '  Though  a  brilliant  and  able  composer 
and  pianist,  he  seemed  to  shine  especially  at  the  organ — 
and  in  the  Bach  fugue,  the  Batiste  rhapsody,  the  Mozart 
Adagio,  the  Schumann  reverie,  the  poetical  improvisa- 
tion, the  hymn  interlude,  which  he  always  made  interest- 
ing by  contrapuntal  treatment  of  the  tune — in  all  of  these 
he  was  equally  at  home,  and  equally  master.  His  per- 
sonal qualities  were  such  as  to  endear  him  to  all  associated 
with  him,  and  to  cause  the  deepest  regret  at  the  early 
ending  of  a  career  from  which  so  much  might  have  been 
expected."     (Year  Book.) 

Mr.  Barnes'  nervous  organization  was  unequal  to  the 
constant  strain  imposed  upon  it  by  his  numerous  duties; 
he  retained  many  of  his  engagements  in  Montreal,  which 
included  the  directorship  of  the  Philharmonic  Society, 
making  the  journey  to  New  York  and  back  every  week; 
but  finally  discovered  that  all  this  was  too  much  for  him, 
and  being  disappointed  in  certain  other  prospects  in  New 


F.    E.   LUCY-BARNES, 

Assistant  Organist, 
1879— 1880. 


Choir  and  Music  189 

York,  resigned  his  appointment  with  us  after  a  year's 
service.  His  melancholy  death  occurred  soon  after;  and 
the  following  eloquent  tribute  to  his  memory  was  written 
by  a  friend  in  Montreal  and  privately  circulated: 

IN  MEMORIAM 

F.  E.  Lucy-Barnes,  R.A.M. 

September  21,  1880 

Too  soon,  O  sweet  musician,  has  the  night 
Closed  thy  tired  eyes, — too  soon  the  subtle  strains, 
That  swept  our  beating  hearts  with  strange  delight, 
Have  ceased.     No  more  such  melody  as  dawn 
Drew  from  Egyptian  Memnon's  stony  lips 
Shall  flood  our  souls  with  passionate  regret, 
Tremulous  tenderness  or  sweetest  wooing. 
We  may  not  ask  to  know  what  coil  of  fate 
Held  thee  to  such  despair  and  such  undoing; 
The  hearts  that  loved  thee  best  among  us  wait, 
With  tender  memories  and  saddest  sorrow, 
Until  the  Sun  of  Righteousness  shall  break 
In  all  His  brightness  on  the  world's  to-morrow, 
And  with  sweet  words  of  love  and  pity  wake 
Thy  heart  with  all  its  music  yet  unsung, 
And  set  thee  somewhere  near  His  great  white  throne. 

Dusketha. 
Montreal,  1880. 

Returning  now  to  the  regular  course  of  events,  the 
service  of  Ascension  Day,  1879,  may  be  briefly  described. 
The  only  novelty  was  the  chorus,  "  Awake  the  harp," 
from  the  "  Creation  " ;  the  offertory  being  part  of  Men- 
delssohn's Psalm  98,  fifth  time  of  performance ;  the  Mass, 
Gounod  as  usual.  Treble  solos  were  sung  by  Case,  Mc- 
Grayne,  and  Honig;  the  choir  numbered  forty-one,  in- 
cluding seven  additions ;  and  the  orchestra  thirty-five,  con- 


190  Trinity  Church,  New  York 

ducted  by  F.  Rietzel,  the  well-known  Flautist,  who  had 
been  business  manager  for  several  years.  Dr.  Austen 
Pearce  was  at  the  large  organ,  and  the  service  appears 
to  have  been  altogether  a  very  good  one. 

On  Whitsunday  Gounod's  "  Sacred  Heart "  Mass  was 
repeated,  with  the  first  and  last  parts  of  Smart's  anthem, 
"  Sing  to  the  Lord  " ;  four  movements  of  the  five  which 
form  the  entire  composition,  including  two  fugues.  I 
have  it  on  record  that  the  day,  June  1st,  was  a  very  hot 
one,  and  that  no  part  of  the  principal  service  was  well 
sung. 

The  new  music  of  the  year  comprised  seven  anthems 
and  six  Services,  four  of  which  were  Communion  Serv- 
ices. This  last  point  leads  me  to  note  the  increasing 
attention  at  that  time  given  to  music  in  the  Communion 
Service,  and  to  give  a  few  statistics  in  illustration. 

In  Dr.  Hodges'  time  his  Communion  Service  in  F  was 
used  on  high  days;  afterwards,  the  only  music  used  for 
Gloria  in  Excelsis  on  Sundays  for  eleven  years  was  the 
"  old  chant."  At  certain  special  services  on  week  days  the 
Communion  Services  of  Rogers  in  D,  Calkin  in  Bb,  and 
Missa  de  Angelis  had  been  sung,  but  not  on  Sundays 
(with  one  exception).  Trinity  Sunday,  1869,  the  prac- 
tice was  begun  of  singing  Kyrie,  Sanctus,  and  Gloria,  all 
from  the  same  Service:  we  had  then  three,  and  for  the 
next  nine  years  one  or  two  were  added  each  year.  In 
1878-79  the  number  of  additions  was  four,  and  then  we 
had  twenty-four;  after  that  three  or  four  were  added 
every  year. 

Of  evening  Services,  Cantate  or  Bonum,  up  to  the 
summer  of  1870  there  was  only  one,  occasionally  used. 
The  following  year  two  were  added,  and  at  the  date 
now  reached,  June,  1879,  there  were  twelve.    The  even- 


Choir  and  Music  19 l 

ing  Canticles  were  occasionally  sung  to  Services  in  Dr. 
Hodges'  time,  very  rarely  under  Dr.  Cutler,  from  the 
summer  of  1870  always.  Te  Deum  had  been  sung  an- 
themwise  always  with  Dr.  Hodges,  generally  under  Dr. 
Cutler,  from  1866  always.  The  Magnificat  was  now, 
1879,  sung  once  a  month,  and  we  had  six  settings. 

Before  closing  this  chapter  mention  should  be  made 
of  three  notable  volunteer  members  of  the  choir  who 
joined  us  in  1877  an^  J878.  They  were  the  Rev.  W.  B. 
Frisby  and  Rev.  Hobart  B.  Whitney,  then  students  in  the 
Seminary,  and  Mr.  A.  A.  Hayes,  an  enthusiastic  and 
accomplished  amateur  of  music,  who  had  a  high  tenor 
voice  which  was  very  useful.  Mr.  Hayes  remained  in 
the  choir  for  about  five  years;  Messrs.  Frisby  and  Whit- 
ney, about  two  years. 

The  boys  were  in  good  condition.  I  find  mention  of 
nine  soloists  at  this  season — Case,  McGrayne,  Honig, 
Caulfield,  high  trebles;  W.  B.  Dunham,  a  very  good 
mezzosoprano;  H.  Joy,  Handforth,  Hicks,  with  Stucke 
as  leader;  and  H.  Faucon,  a  good  alto — altogether  quite 
a  strong  party. 

From  the  1st  of  May  to  the  middle  of  August,  during 
which  period  there  was  no  assistant  organist,  I  sometimes 
accompanied  part  of  the  service  from  the  gallery;  in  the 
afternoons  some  organist  free  from  duty  would  occasion- 
ally give  voluntary  assistance;  but  the  large  organ  was 
often  silent.  On  Ascension  Day  Dr.  Austen  Pearce  was 
specially  engaged  as  organist;  and  on  Whitsunday  and 
Trinity  Sunday,  Mr.  H.  G.  Thunder,  of  Philadelphia. 
Among  the  organists  who  gave  occasional  help  were  F.  E. 
L.  Barnes,  Dr.  Penfield,  and  F.  W.  Thursch.  On  the  17th 
of  August  Mr.  Barnes  commenced  duty,  and  I  was  able 
to  get  a  short  vacation. 


192  Trinity  Church,  New  York 

XXXVIII 

1879-1880 

On  the  first  Sunday  in  September  regular  work  was 
resumed,  with  two  organs  and  full  choir.  During  the 
autumn  the  morning  Service  of  Hopkins  in  A  was  first 
sung:  a  beautiful  Service,  but  troublesome,  as  it  requires 
a  double  sextet.  The  first  time  it  was  well  done;  but  the 
next  Sunday  one  solo  boy  was  absent,  and  there  must 
have  been  other  trouble,  for  the  whole  thing  was  a  fail- 
ure, and  the  Hopkins  Service  was  sent  into  retirement 
for  three  years.  There  was  also  a  new  evening  Service, 
Walmisley  in  F,  which  has  many  "  Verse  "  passages ;  this 
was  sung  on  nine  consecutive  Sundays,  with  varying  de- 
grees of  success. 

On  the  22d  of  November  the  twenty-fifth  anniversary 
of  the  consecration  of  Bishop  Horatio  Potter  was  cele- 
brated by  a  service  at  Trinity  Church.  There  was  a  choir 
of  twenty-nine  voices,  and  the  following  order  of  service : 

Processional. — "The  strain  upraise." 

Te  Deum Tuckerman,  in  Eb 

Kyrie  and  Sanctus Gounod  (Sacred  Heart) 

Nicene  Creed. — Monotone. 

Hymn. — "The  God  of  Abraham  praise." 

Address,  and  Reply  by  the  Bishop. 

Hymn. — "All  people  that  on  earth  do  dwell." 

Offertory. — Psalm  84.    Nos.  2  and  3         ....      Spohr 
Quartet.— "Lord  God  of  Hosts." 
Chorus. — "  Happy,  who  in  Thy  house  reside." 

Gloria  in  Excelsis Old  chant 

Recessional. — "Now  thank  we  all  our  God." 


Henry  L.  Case, 

Frank  Fruttchey, 

1876— 1881. 

1881— 

F.   H. 

YON    DER    HEIDE, 

1882— 

Warren   R.   Hedlien, 

Harry  Reilly, 

1875- 

1882— 

Choir  and  Music  193 

The  quartet  in  the  offertory  was  sung  by  Case,  T.  Adams, 
Messrs.  Devon  and  Dunkinson. 

The  service  by  the  united  choirs  took  place  this  year 
at  St.  John's  Chapel,  under  the  direction  of  Mr.  Le  Jeune, 
who  contributed  a  new  anthem  and  the  Creed  from  his 
Communion  Service,  sung  two  years  before.  The  Mag- 
nificat was  Gregorian,  and  the  other  anthems  by  Farrant, 
Wesley,  W.  H.  Monk,  and  Sullivan,  with  a  tenor  solo, 
"  Sound  an  alarm,"  by  Handel. 

About  this  time  the  large  choir  banner  came  into  ex- 
istence, and  was  first  used  at  the  united  service.  Pre- 
viously, when  called  for,  we  had  used  one  of  the  Sunday- 
school  banners.  Trinity  Chapel  choir  already  had  a 
handsome  one,  and  it  was  thought  that  the  Parish  Church 
should  no  longer  be  without  one.  The  cost  of  our  banner 
was  $275,  which  was  raised  by  a  subscription  among 
the  congregation.  The  banner  is  handsome  but  incon- 
veniently large ;  it  was  first  carried  in  procession  at  Trin- 
ity Church  on  the  following  Ascension  Day,  1880. 

On  Christmas  Day,  Mr.  Le  Jeune's  Communion  Serv- 
ice was  sung  with  familiar  anthems.  On  the  two  Sundays 
after  Christmas  Handel's  florid  air,  "  Rejoice  greatly," 
was  well  sung  by  H.  L.  Case,  the  only  instance  in  which 
I  have  ever  attempted  it  with  a  boy;  but  Case's  excep- 
tional talent  enabled  him  to  learn  it  without  trouble  and 
to  execute  it  neatly.  In  Epiphany  season  Gounod's  Mass, 
"  Sancti  Angeli,"  was  first  sung;  this  is  a  short  and  in- 
complete Mass,  without  Creed,  and  is  not  specially  inter- 
esting. It  was  composed  in  1873  or  I874>  when  Gounod 
was  in  London;  it  is,  moreover,  without  accompaniments, 
the  organ  merely  playing  the  voice  parts. 

The  Epiphany  offertory  was  "  Lo,  star-led  chiefs," 
one  of  the  few  surviving  pieces  from  Dr.  Crotch's  ora- 


194  Trinity  Church,  New  York 

torio  "Palestine,"  produced  in  1812.  Palestine  is  a 
long  and  rather  tedious  work,  though  it  enjoyed  consid- 
erable popularity  in  its  day;  and  there  are  a  few  numbers 
which  have  deservedly  escaped  oblivion.  The  words  of 
the  oratorio  were  taken  from  a  prize  poem  by  Bishop 
Heber. 

At  Septuagesima,  1880,  was  begun  our  present  series 
of  monthly  service  lists.  The  idea  originated,  I  believe, 
at  St.  Mark's,  Philadelphia;  at  all  events  ours  was  modi- 
fied from  one  of  that  Church  which  came  under  the  notice 
of  the  Rector,  and  led  him  to  suggest  something  similar 
for  ourselves.  In  the  English  cathedrals  a  weekly  list  of 
the  Services  and  anthems  is  usually  posted  up  in  some 
conspicuous  place,  and  some  parish  churches  print  the 
words  of  anthems,  with  a  more  or  less  complete  order  of 
service;  but  I  imagine  that  the  printed  monthly  service 
list  was  originated  in  this  country.  Previously  we  had 
printed  programmes  for  the  special  services  on  festivals ; 
some  of  these  were  pretty  and  tasteful,  with  a  decorated 
border  and  an  appropriate  little  woodcut  on  the  front; 
these  were  now,  of  course,  given  up. 

During  the  remainder  of  this  season  there  was  little 
new  music  sung;  nothing  new  on  either  Easter  or  Ascen- 
sion Days.  The  Easter  Mass  was  Weber  in  Efc>;  Ascen- 
sion Day,  still  Gounod's  St.  Cecilia;  on  Whitsunday, 
Gounod's  "  Sacred  Heart."  The  service  of  Trinity  Sun- 
day morning  comprised  Morning  Prayer,  Litany,  and 
Holy  Communion,  as  was  then  the  rule. 

The  new  music  of  the  year  was  somewhat  below  the 
average  in  regard  to  both  quantity  and  importance;  it 
included  six  Services — 2  Communion,  1  Morning,  2  Even- 
ing, and  1  Magnificat;  and  twelve  anthems,  of  which  five 
were   German — two   numbers   from   Handel's   Dettingen 


Choir  and  Music  195 

Te  Deum ;  trio  and  chorus,  "  The  Lord  is  great,"  from 
the  "  Creation  " ;  sextet  and  chorus  from  Mendelssohn's 
42d  Psalm;  and  the  Kyrie  from  Weber's  Mass  in  G.  The 
seven  English  anthems  were  mostly  small  affairs. 

There  were  some  accessions  to  the  choir  during  the 
year;  notably  Mr.  Steiner,  basso,  who  has  remained  with 
us  ever  since.  Mr.  Steiner  must  be  put  on  record  as  the 
possessor  of  a  remarkably  fine  musical  organization,  of 
great  experience  and  a  good  serviceable  voice;  and  as  a 
man  always  to  be  depended  upon.  Another  accession  was 
Mr.  J.  Pickslay,  whose  sweet  and  clear  treble  had  changed 
into  a  round  sonorous  bass. 

In  April,  1880,  Mr.  A.  Livingston,  tenor,  dropped 
out,  and  was  succeeded  by  Mr.  G.  O'Reilly,  also  an  "  old 
boy."  There  were  also  several  volunteers,  who  made  only 
a  short  stay.  Two  good  alto  boys,  Thomas  Adams  and 
Henry  Quick,  supported  Messrs.  Smedley  and  Malin,  with 
two  other  boys  who  had  descended,  or  ascended,  from  the 
treble  ranks.  In  November,  1879,  H.  L.  Case  had  be- 
come leader  of  the  trebles,  retaining  the  position  for  about 
a  year;  and  there  were  some  promising  boys  among  the 
juniors. 

In  the  summer  of  1880  Mr.  Barnes  resigned  the  posi- 
tion of  assistant  organist,  and  was  succeeded  by  F.  W. 
Thursch.  There  were  a  great  many  applicants  for  the 
engagement;  some  of  them  being  men  of  great  experi- 
ence and  recognized  ability;  but  the  fact  of  Thursch's 
having  been  trained  as  a  boy  in  our  choir,  and  of  his  hav- 
ing kept  up  his  knowledge  of  our  music  and  routine  by 
often  assisting  at  rehearsals  and  services,  with  his  evident 
talent,  secured  him  the  position.  Mr.  Thursch  received 
his  musical  education  entirely  from  myself;  his  appoint- 
ment was  very  gratifying  to  me,  and  was  justified  by  the 


196  Trinity  Church,  New  York 

skill  and  care  with  which  he  discharged  his  duties  at  all 
times.  He  commenced  on  September  5th,  at  first  gener- 
ally taking  the  Chancel  organ. 


XXXIX 

1880-1881 

The  first  notable  event  of  the  season  was  the  opening 
service  of  the  General  Convention,  which  was  held  in  St. 
George's  Church;  the  music  being  furnished  by  the  choir 
of  Trinity  Church,  assisted  by  a  detachment  from  St. 
John's  Chapel.  In  compliance  with  the  wishes  of  the  pre- 
siding Bishop  (Smith,  of  Kentucky)  the  service  was  not 
choral,  and  the  music  was  mostly  simple.  The  Psalms 
were  read,  but  an  anthem  was  permitted  at  the  Offertory ; 
the  Sanctus  from  Gounod's  St.  Cecilia  Mass  was  also 
introduced  in  the  Communion  Service,  the  solo  being  sung 
by  the  Rev.  W.  H.  Cooke.  As  the  last-mentioned  item 
excited  some  hostile  comment,  a  statement  of  the  circum- 
stances leading  to  its  use  will  not  be  out  of  place.  The 
opening  service  of  the  New  York  Diocesan  Convention 
had  been  held  a  short  time  before  at  St.  John's  Chapel, 
when  there  was  an  ornate  service,  which  included  Gou- 
nod's Mass,  or  at  least  the  Sanctus.  Many  of  the  Clergy 
present,  and  notably  the  Rector  of  St.  George's  Church, 
were  struck  by  the  impressiveness  of  this  Sanctus,  and 
desired  to  have  it  sung  at  the  General  Convention  service. 
The  presiding  Bishop,  with  whom  rested  the  ordering  of 
the  service,  consented  to  its  use,  evidently  in  ignorance 
of  its  length  and  character.     The  Bishop  was  plainly  un- 


F.   W.   THURSCH, 

Assistant  Organist, 
1880—1885. 


Choir  and  Music  197 

comfortable  during  the  singing  of  this  long  piece,  and  at 
its  close  read  the  Sanctus  over  again;  while  one  of  the 
Wardens  of  the  Church  came  up  to  the  gallery  and  rather 
angrily  called  me  to  account.  It  must  be  confessed  that 
this  composition  was  inappropriate,  considering  the  severe 
simplicity  of  the  rest  of  the  service.  The  Gloria  in  Ex- 
celsis  was  sung  to  the  old  chant;  Te  Deum  was  Dykes 
in  F,  a  very  simple  setting;  and  the  Offertory  anthem, 
"  How  lovely  are  the  messengers,"  by  Mendelssohn.  Pro- 
cessional hymns  were  sung,  though  the  choir  was  in  the 
gallery,  without  surplices.  The  choir  numbered  45,  in- 
cluding nine  from  St.  John's  Chapel. 

This  year,  1880-81,  witnessed  the  introduction  of  a 
large  amount  of  new  music,  most  of  it  important  in  char- 
acter. During  the  three  months,  October,  November,  and 
December,  twelve  new  compositions  were  sung,  including 
Steggall's  Evening  Service  in  C,  Garrett's  Morning  Serv- 
ice in  F,  Stanford's  Communion  Service  in  Bfc>,  a  long 
anthem  by  Walmisley,  "  If  the  Lord  Himself,"  Thayer's 
setting  of  "  O  come,  Emmanuel,"  and  other  smaller  works. 

With  all  this  it  is  evident  that  the  trebles  were  not  in 
good  condition  at  this  time;  I  find  frequent  mention  of 
"  trebles  flat,"  and  of  two  boys  being  combined  on  a  solo : 
certain  evidences  of  weakness,  which  cannot  be  explained, 
and  must  be  debited  to  "  profit  and  loss,"  as  a  condition 
which  will  occur  now  and  then. 

The  eighth  annual  service  by  the  united  choirs  took 
place  at  Trinity  Chapel.  Until  now  the  music  sung  had 
been  exclusively  English,  with  the  sole  exception  of  a 
tenor  solo  by  Handel  in  1879.  This  year  witnessed  a  new 
departure,  as  the  first  three  anthems  were  by  Arcadelt, 
Bach,  and  Mozart;  the  second  being  the  motet  for  double 
chorus,  "  Blessing  and  glory."     The  other  anthems  were 


198  Trinity  Church,  New  York 

by  Attwood,  Goss,  Sullivan,  and  Dr.  Gilbert;  the  chrono- 
logical arrangement  was  still  a  feature  of  the  plan,  the 
anthems  ranging  from  1550  to  1880. 

In  Advent  a  novelty  was  Eugene  Thayer's  setting  of 
"  O  come,  Emmanuel,"  an  effective  composition  for  bass 
solo  and  chorus.  Thayer  was  the  fourth  American  to 
appear  on  our  lists ;  his  predecessors  having  been  Tucker- 
man,  Cornell,  and  J.  P.  Morgan. 

At  the  children's  service  on  Christmas  Eve  of  this 
year  F.  W.  Thursch  played  on  the  large  organ,  and  Vic- 
tor Baier  accompanied  at  the  Chancel  organ.  At  that 
time  I  always  directed  these  services,  and  a  regular  feat- 
ure was  the  singing  of  Dr.  Cutler's  beautiful  carol,  "  The 
Christmas  tree,"  the  four  stanzas  being  sung  as  solos  by 
four  of  the  junior  boys.  This  year  the  four  little  boys 
were  R.  O.  Irvine,  John  Thompson,  G.  Brown,  and  E.  B. 
Dunham. 

On  Christmas  Day  the  music  was  nearly  all  new.  The 
Communion  Service  was  Gounod's  Orpheoniste  Mass,  one 
of  two  which  he  wrote  for  the  Orpheon  Society  (men's 
voices)  in  1853;  the  arrangement  for  mixed  voices  was 
made  by  Mr.  Barnes,  and  published  here.  The  Offertory 
was  a  selection  from  the  "  Noel  "  of  Saint-Saens,  consist- 
ing of  a  quintet  with  short  chorus  and  a  closing  chorale; 
this  music  did  not  excite  much  interest,  and  is  in  strong 
contrast  to  Gounod's,  though  both  are  French.  Saint- 
Saens,  like  some  others  of  his  countrymen,  capers  gayly 
over  sacred  words;  while  Gounod  is  grave,  dignified,  and 
generally  ecclesiastical.  The  opening  anthem  was  the 
first  chorus  of  Gade's  "  Holy  Night,"  an  established  fa- 
vorite; the  music  of  the  day  was  therefore  mostly  French, 
with  one  item  from  Denmark.  The  tune  of  the  reces- 
sional,  "  Hark,  the  herald,"   is  German ;  while  that  of 


Choir  and  Music  199 

the  processional,  "  Adeste  fideles,"  is  of  doubtful  origin, 
though  generally  ascribed  to  an  Englishman,  John  Read- 
ing. The  choir  this  day  numbered  37,  and  the  singing 
was  pretty  good,  though  not  up  to  the  highest  mark.  The 
mass  is  entirely  choral,  and  the  quintet  in  the  Offertory 
was  composed  of  James  Hedden,  W.  Caulfield,  Messrs. 
Smedley,  Devon,  and  Price. 

On  the  following  Sunday  the  Mass  and  Offertory  were 
repeated;  in  the  afternoon  the  harmonized  Confession 
was  introduced,  and  the  Psalms  sung  to  Gregorian  tones. 
These  were  the  result  of  a  wish  expressed  by  the  Rector 
for  some  special  features  to  distinguish  the  evening  serv- 
ice in  festival  seasons  from  that  of  ordinary  Sundays. 
The  Gregorian  chanting  was  not  a  success,  and  was  not 
tried  again ;  at  a  later  date  double  chants  were  introduced 
with  the  same  object,  and  with  better  result.  The  har- 
monized Confession  has  been  retained  ever  since  for  fes- 
tival use;  it  is  a  practice  of  doubtful  propriety  in  general, 
but  as  a  special  effect  for  festival  occasions  may  be  con- 
sidered admissible. 

The  division  of  the  Saints'  Day  services  dates  from 
St.  John's  Day  of  this  year:  morning  prayer  being  said 
at  nine  o'clock  without  music. 

Epiphany  season  was  notable  only  for  the  introduc- 
tion of  Stainer's  splendid  anthem,  "  Awake,  awake  " ;  and 
Lent  for  Spohr's  23d  Psalm,  a  difficult  work  for  quartet 
and  double  chorus,  which  was  a  little  beyond  our  power, 
and  therefore  a  failure.  I  observe  that  on  the  last  two 
Sundays  of  Lent  the  Agnus  Dei  was  sung,  from  Gounod's 
Orpheoniste  Mass;  the  practice  was  not  continued  after 
Easter  Sunday. 

On  Good  Friday  the  "  Service  of  the  Passion  "  was 
first  held,  beginning  at  one  o'clock;  in  order  to  do  this, 


200  Trinity  Church,  New  York 

the  usual  service  of  Morning  Prayer,  Litany,  and  sermon 
was  begun  half  an  hour  earlier,  at  10.30,  and  the  cus- 
tomary motet  was  omitted.  Four  years  later  the  first 
service  was  still  further  shortened  by  reading  the  Psalms 
and  Benedicite,  so  that  the  Passion  Service  might  begin 
at  about  twelve  o'clock. 

On  Easter  Day  of  the  previous  year  none  of  the  music 
was  new;  this  year  Service  music  and  anthems  were  all 
new,  morning  and  afternoon,  with  the  *sole  exception  of 
the  "  Hallelujah  "  chorus.  The  most  important  and  in- 
teresting parts  of  the  day's  work  were  the  Creed,  Agnus 
and  Gloria  of  Schubert's  Mass  in  Afe>,  one  of  the  best  of 
his  six  masses,  technically  and  aesthetically :  elevated  in 
feeling  and  elaborate  in  construction.  Many  "  cuts  "  had 
to  be  made  in  these  three  numbers,  owing  to  their  great 
length;  and  the  Sanctus  was  taken  from  another  Mass 
by  the  same  composer.  The  difficulties  of  the  music  were 
surmounted  with  fair  success.  The  Offertory  piece  was 
a  selection,  consisting  of  double  chorus,  bass  solo,  double 
chorus,  quintet,  and  concluding  double  chorus,  from  an 
anthem  by  Dr.  S.  S.  Wesley,  a  very  long  anthem  of  forty- 
two  pages,  of  which  we  sang  about  half.  In  the  third 
number  all  the  voice  parts  begin  on  the  same  note,  middle 
D,  gradually  spreading  out  into  eight  parts  in  the  course 
of  two  bars:  an  unique  effect,  giving  immense  force  to 
the  words,  "  He  shall  swallow  up  death  in  victory." 

The  successful  execution  of  this  elaborate  programme, 
which  included  also  one  of  Goss's  anthems,  speaks  well 
for  the  condition  of  the  choir,  numbering  on  that  day 
thirty-seven.  The  treble  solos  were  taken  by  James  Hed- 
den,  W.  Caulfield,  and  Oscar  Schmitt;  the  last  named 
had  a  mezzo-soprano  voice  of  peculiar  but  telling  quality, 
which  afterwards  deepened  into  a  fine  alto.    Caulfield  was 


^ 


Choir  and  Music  201 

son  of  the  well-known  organist  James  Caulfield.  It  is  a 
curious  coincidence  that  each  of  these  three  boys  was  one 
of  a  trio  of  brothers  serving  successively  in  the  choir: 
Hedden  being  the  second,  Caulfield  the  first,  and  Schmitt 
the  third  of  his  trio. 

The  afternoon  service  introduced  two  compositions  of 
native  production:  namely,  a  Cantate  and  Deus  misere- 
atur  by  the  Rev.  Dr.  Hodges;  and  an  anthem  written 
for,  and  dedicated  to,  the  choir  of  Trinity  Church  by  Rich- 
ard Hoffman,  the  well-known  pianist,  who  was  organist 
of  St.  John's  Chapel  from  1854  to  1859. 

On  Ascension  Day  the  Communion  Service  was  again 
Gounod's  St.  Cecilia,  the  solo  in  the  Sanctus  sung  as 
usual  by  the  Rev.  Mr.  Cooke ;  and  the  Offertory,  Mendels- 
sohn's 98th  Psalm.  The  processional  and  anthem  were 
new :  the  former,  "  Sound  the  loud  timbrel,"  is  from  an 
oratorio,  "  Israel's  return  from  Babylon,"  composed  by 
J.  R.  Schachner  and  performed  about  1875  in  London, 
where  it  had  a  temporary  success.  This  piece  served  our 
purpose  well,  and  has  since  gone  the  round  of  other 
churches.  The  opening  anthem  was  the  "  Graduale " 
from  Liszt's  Coronation  Mass,  set  to  the  English  version 
of  the  original  words,  Psalm  117.  We  have  not  usually 
had  much  success  with  Liszt's  music,  and  it  was  so  this 
time :  choir  and  orchestra  did  not  pull  well  together.  The 
vocal  score  is  not  very  interesting;  the  general  character 
is  declamatory,  with  occasional  cantabile  and  very  chro- 
matic passages  for  quartet. 

Beside  the  regular  choir,  we  had  on  this  day  six 
boys  from  St.  Chrysostom  choir,  which  was  then  main- 
tained by  the  late  John  D.  Prince;  also  eight  men  from 
other  choirs,  making  a  total  of  forty-seven  voices.  The 
orchestra   was    of   the    usual    strength,    thirty-six   men, 


202  Trinity  Church,  New  York 

including  a  harpist,  and  was  again  directed  by  Mr. 
Rietzel. 

At  the  Ascension  Day  services  since  1874  we  had 
been  in  the  habit  of  singing  an  extended  version  of  the 
"Gloria  Tibi  "  before  the  Gospel;  generally  about  thirty 
or  forty  bars  extracted  from  some  Mass  of  Haydn  or 
Mozart,  set  to  the  usual  words  with  the  addition  of 
"  amen."  This  was  given  up  in  1888,  being  voted  an 
unnecessary  and  troublesome  addition  to  the  service. 

On  Whitsunday,  Gounod's  Orpheoniste  Mass  was  re- 
peated, and  for  the  remainder  of  the  season  there  was 
nothing  calling  for  notice. 

The  list  of  new  music  during  the  year  is  unusually 
long  and  important;  it  includes  eight  Services,  by  Schu- 
bert, Gounod,  Stanford,  Garrett,  Martin,  Steggall,  Dykes, 
and  Rev.  Dr.  Hodges;  ten  Anglican  anthems,  by  Crotch, 
Wesley,  Walmisley,  Goss,  Stainer,  Barnby,  Hoffman,  and 
Thayer;  and  six  from  the  works  of  Arcadelt,  Haydn, 
Spohr,  Liszt,  Saint-Saens,  and  Schachner.  Of  the  six- 
teen anthems,  ten  are  extended  works  of  two  or  more 
movements,  generally  with  solo  parts.  Liszt  and  Saint- 
Saens  made  their  first  appearance  on  our  programmes, 
where  it  may  be  predicted  that  they  will  not  often  be  seen. 

During  this  year,  1880-81,  James  Hedden  had  become 
leader  of  the  trebles,  succeeding  Case,  and  remained  for 
a  year  and  a  half.  Among  the  principal  men  there  were 
no  changes ;  but  there  were  some  new  volunteers,  of  whom 
may  be  mentioned  the  Rev.  John  E.  Bold,  then  in  the 
Seminary,  and  Mr.  A.  G.  Wood,  whose  name  appears 
continuously  on  the  choir  list  from  this  time.  Mr.  Wood 
sang  under  Dr.  Hodges  and  Dr.  Cutler,  and  his  name 
appears  in  my  book  in  1868;  from  that  year  until  1880 
his  services  in  the  choir  were  intermittent;  but  since  then 


Choir  and  Music  203 

he  has  been  a  regular  attendant,  an  efficient  and  enthusi- 
astic supporter,  and  being  a  man  of  cultivated  taste,  an 
advocate  of  the  very  best  music. 


XL 

1881-1882 

After  the  summer  vacation  the  first  event  of  note  was 
a  memorial  service  for  President  Garfield  on  the  day  of 
his  funeral,  September  26th.  The  choir  numbered  thirty- 
two,  and  the  order  of  service  was  as  follows: 

Processional  Hymn. — "When  our  hearts  are  bowed  with  woe." 
Sentences  from  Burial  Service. 

Burial  Anthem Chant 

Address  by  the  Rector. 

De  profundis Chant 

Litany. — Entire. 

Anthem. — "  Happy  and  blest " Mendelssohn 

Recessional  Hymn. — "O  Paradise." 

From  this  date  until  Christmas  the  only  points  of 
musical  interest  were  the  revival  of  Dr.  Hodges'  Com- 
munion Service  in  F,  at  the  special  request  of  the  Rec- 
tor, and  the  singing  of  part  of  F.  E.  L.  Barnes'  23d 
Psalm.  The  chief  interest  in  both  of  these  arose  from 
association;  to  those  who  had  known  and  heard  Dr. 
Hodges,  anything  written  by  him  was  interesting;  and 
the  same  may  be  said  of  Barnes,  whose  anthem  had,  how- 
ever, many  strong  points.  It  has  never  been  published, 
but  was  lithographed  in  Montreal,  and  a  copy  given  to  me. 

The  choir  festival  of  this  year  was  held  at  St.  John's 


204  Trinity  Church,  New  York 

Chapel,  and  the  programme  included  anthems  by  Far- 
rant,  Greene,  Goss,  Gounod,  and  Le  Jeune,  with  a  tenor 
solo  from  one  of  Handel's  oratorios.  On  this  occasion 
the  choir  of  St.  Chrysostom  took  part  for  the  first  time. 

On  the  Sundays  in  Advent,  Agnus  Dei  was  again 
sung,  but  not  after  Christmas.  On  the  third  Sunday 
afternoon  the  Benedictus,  of  unfortunate  memory,  from 
Hummel's  second  Mass,  was  once  more  essayed,  and 
again  failed  to  receive  just  treatment. 

Christmas  Day  witnessed  the  production  of  another 
of  Mozart's  melodious  Masses,  No.  7  in  Bfc>.  This  has  a 
good  deal  of  work  for  solo  voices,  and  I  find  mention 
of  six  trebles  taking  part  in  the  solos  of  the  Mass  and 
anthems — Fruttchey,  G.  Brown,  Thompson,  Pelletreau, 
Caulfield,  and  Schmitt.  The  leader,  James  Hedden,  was 
doubtless  losing  his  voice,  as  in  February  his  name  dis- 
appears, and  first  place  is  taken  by  Oscar  Schmitt. 

This  Christmas  Day  fell  on  a  Sunday;  and  in  the 
afternoon  the  entire  choir  of  St.  Chrysostom,  directed  by 
Mr.  Prince,  assisted,  making  a  total  force  of  sixty-nine 
voices — 34  trebles,  10  altos,  11  tenors,  and  14  basses. 
There  was  a  procession  round  the  church  before  and 
after  service;  three  banners  were  carried,  and  seven  of 
the  Clergy  were  present.  The  music  comprised  Steg- 
gall's  Service  in  C,  the  Christmas  selection  from  the 
Messiah,  and  Florio's  Magnificat ;  and  is  recorded  as  hav- 
ing been  well  sung  and  with  impressive  effect. 

The  music  of  Christmas  Day  was  repeated  on  the 
following  Sunday,  morning  and  afternoon,  with  the  usual 
morning  Service  added,  and  a  shorter  Introit  substituted ; 
the  regular  choir  alone,  however,  sang  in  the  afternoon. 

The  four  months  following  were  uneventful;  I  find 
little  to  note  until  Ascension  Day.    The  services  went  on 


Choir  and  Music  205 

in  the  regular  way,  with  some  mishap  or  failure  now  and 
then,  but  with  a  fairly  good  general  average.  There  was 
little  new  music,  but  our  library  had  now  become  quite 
large,  and  there  was  no  lack  of  variety.  A  Communion 
Service  on  Easter  Day  by  an  English  composer,  George 
Carter;  one  evening  Service,  and  another  short  Com- 
munion Service  represent  all  that  was  actually  new. 

The  celebration  of  Ascension  Day,  1882,  was  made 
unusually  impressive  by  the  participation  in  the  service 
of  the  entire  choir  of  St.  Chrysostom,  directed  by  Mr. 
J.  D.  Prince.  Mr.  Prince's  choir  was  large  and  very 
efficient,  possessing  good  solo  voices  and  a  well-balanced 
chorus;  his  offer  of  assistance  was  therefore  gladly  ac- 
cepted. The  combination  of  the  two  choirs  made  up  a 
force  of  78  voices — 40  trebles,  11  altos,  12  tenors,  and 
15  basses.  Special  interest  was  added  by  the  substitution 
of  Beethoven's  1st  Mass  for  Gounod's  St.  Cecilia,  which 
had  been  sung  on  eleven  successive  anniversaries.  In 
addition  to  this,  we  were  favored  with  the  cooperation  of 
Dr.  Damrosch,  one  of  the  most  distinguished  musicians' 
and  conductors  of  the  day;  who,  through  the  influence  of 
Mr.  Prince,  was  induced  to  conduct  the  orchestra,  which 
was  of  the  usual  strength,  35  men.  With  this  massive 
body  of  trained  and  organized  singers,  not  so  large  as  to 
be  unwieldy,  and  with  an  eminent  and  experienced  or- 
chestral director,  there  was  an  opportunity  for  a  worthy 
representation  of  Beethoven's  music. 

This  was  in  a  large  degree  realized;  there  was  very 
little  unsteadiness  in  the  chorus,  or  weakness  in  the  solos. 
The  solo  parts  in  the  Creed  were  taken  by  the  St.  Chrys- 
ostom choir;  those  in  the  Agnus  and  Gloria  by  Trinity 
Church  choir.  The  Benedictus  was  not  sung;  and  only 
a  scrap  from  the  Kyrie,  as  response  to  the  Command- 


206  Trinity  Church,  New  York 

ments.  The  processional  was  "  Sound  the  loud  timbrel  " 
(Schachner),  as  in  the  previous  year;  the  anthem,  "Ye 
boundless  realms,"  from  Handel's  6th  Chandos  Anthem. 
The  Offertory,  "God,  Thou  art  great"  (Spohr),  was 
new,  and  is  very  attractive  and  interesting  music.  Four 
of  the  five  numbers  were  sung,  a  long  duet  being  the  only 
omission.  The  second  number,  treble  solo  with  accom- 
panying chorus,  was  sung  by  Trinity  choir  alone,  Elbert 
Pelletreau  being  the  soloist.  The  fourth  number,  quartet 
and  chorus,  by  St.  Chrysostom  choir  alone;  the  first  and 
fifth  by  the  combined  choirs.  This  work  is  one  of  the 
most  beautiful  in  our  repertory,  the  first  and  fourth  num- 
bers being  especially  original  and  characteristic.  Of  the 
Trinity  choir,  solo  singers  on  this  day  were  Caulfield, 
Reilly,  Pelletreau,  Schmitt,  trebles;  H.  Dunham  and  Mr. 
Smedley,  altos;  Messrs.  Archer  and  O'Reilly,  tenors; 
Mr.  Price,  bass.  Some  new  names  appear  here — Henry 
Reilly,  a  Newark  boy  with  a  flexible  and  ringing  voice, 
and  a  high  degree  of  intelligence;  and  Mr.  Archer,  tenor, 
who  came  in  on  May  ist,  and  was  now  principal  tenor, 
succeeding  McPherson.  The  latter  was  an  English,  or 
perhaps  Scotch,  tenor,  who  had  sung  with  us  occasion- 
ally for  several  years,  and  during  the  past  year  regularly  ; 
he  had  a  light  agreeable  voice  and  considerable  experi- 
ence. It  was  the  case  with  McPherson,  as  with  some 
others,  that  his  tastes  led  him  to  Trinity  Church,  while 
his  pocket  drew  him  elsewhere. 

Whitsunday  the  Mass  was  Gounod's  "  Sacred  Heart  " ; 
the  Offertory,  "  Let  the  bright  Seraphim,"  well  sung  by 
Caulfield,  with  the  chorus  following,  from  Handel's  Sam- 
son. On  Trinity  Sunday  the  morning  service  included 
Morning  Prayer  and  Holy  Communion;  the  Offertory 
being  a  tenor  solo  and  chorus,  "  I  was  in  the  Spirit," 


Choir  and  Music  207 

from  Dr.  Armes'  Church  cantata  St.  John  the  Evan- 
gelist. In  the  afternoon  were  sung  part  of  Bach's  can- 
tata "  Blessing  and  glory,"  and  Beethoven's  "  Hallelujah." 
The  new  music  of  the  year  was  not  remarkable;  of 
Services  there  were  4  English,  2  American,  and  1  Ger- 
man; of  the  new  anthems  five  were  German  and  three 
English.  On  February  1st  Oscar  Schmitt  became  leader 
of  the  trebles,  vice  J.  Hedden  retired.  We  lost  also  this 
summer  Mr.  John  Palmer,  an  efficient  bass,  who  had 
served  for  five  years,  and  Mr.  Bold;  but  the  full  number 
of  eight  basses  was  made  up  after  the  vacation  by  new- 
comers, of  whom  were  Messrs.  Sperry  and  Decker,  the 
Rev.  A.  P.  Grint,  and  Mr.  G.  N.  Messiter,  the  last  two 
being  volunteers.  The  tenor  department  had  been  reen- 
forced  by  the  return  of  Mr.  Forster  and  engagement  of 
Mr.  E.  A.  Hopkins. 


XLI 
1882-1883 

On  September  27th  a  detachment  of  the  choir,  eigh- 
teen voices,  provided  the  music  at  the  opening  of  the 
Diocesan  Convention,  which  was  held  at  St.  Augustine's 
Chapel.  The  Service  music  was  Boyce  in  C  and  Stan- 
ford in  Bb ;  the  Offertory,  part  of  Stainer's  anthem,  "  I 
saw  the  Lord  " ;  the  service,  which  was  not  choral,  lasted 
three  hours  and  a  half,  and  the  music  suffered  from  the 
bad  condition  of  the  organ. 

In  October,  Purcell's  Evening  Service  in  Bb  was  sung 
once,  or  at  least  attempted;  it  was  a  failure,  and  the 
music  was  put  out  of  sight  for  two  years;  in  1884  the 


210  Trinity  Church,  New  York 

On  Easter  Day  Haydn's  Mass  No.  I  was  sung,  and 
part  of  Mendelssohn's  Psalm  114,  but  there  was  nothing 
new.  The  first  Sunday  after  Easter,  first  Sunday  in  the 
month,  the  services  were  again  divided,  but  this  was  not 
done  again,  except  at  the  festivals. 

Ascension  Day,  Beethoven's  Mass  was  sung,  under 
the  same  conditions  as  previous  years;  the  choir  of  St. 
Chrysostom  taking  part,  and  Dr.  Damrosch  directing  the 
orchestra.  The  Offertory  was  part  of  Mendelssohn's 
95th  Psalm — a  duet  for  trebles,  well  sung  by  Reilly  of 
Trinity  Church  and  Holzhausen  of  St.  Chrysostom,  and 
two  choruses  with  incidental  solos  for  tenor.  Our  prin- 
cipal tenor  was  Mr.  Frank  Bernard,  who  had  a  very  fine 
voice,  and  had  succeeded  Mr.  Archer.  Other  treble  solos 
were  given  by  Von  der  Heide,  Schmitt,  and  Fruttchey, 
the  latter  a  mezzo-soprano  who  developed  into  a  good 
alto.  This  service  was,  on  the  whole,  good;  but  the 
Sanctus,  which  is  unusually  difficult,  went  to  pieces.  The 
anthems  were  all  repeated  on  the  following  Sunday,  with 
the  addition  of  the  chorus,  '  Unfold,"  and  preceding 
Recitative  from  Gounod's  "  Redemption." 

Whitsunday  service  was  poor;  the  Silas  and  Saint- 
Saens  Mass  was  repeated,  with  anthems  by  Haydn  and 
Mozart.  Trinity  Sunday  there  was  a  new  Offertory  an- 
them, adapted  from  a  Kyrie  of  Mozart  by  F.  W.  Rosier; 
but  it  did  not  make  much  impression. 

The  new  music  of  the  year  comprised  5  Services  and 
16  anthems;  of  the  latter  there  were  three  of  Gounod, 
two  Mozart,  two  Mendelssohn,  one  each  of  Spohr  and 
Gade,  and  seven  modern  English.  The  singing  gener- 
ally was  not  up  to  our  best  standard,  though  there  were 
many  good  services,  and  a  few  very  good.  Oscar  Schmitt 
was  leader  of  the  trebles  until  October,  when  he  gave 


Choir  and  Music  211 

way  to  Reilly,  and  was  transferred  to  the  alto  depart- 
ment. In  November,  1882,  Mr.  C.  Wyllys  Betts  joined 
the  choir  as  volunteer  tenor,  and  until  his  lamented  death 
in  1887  was  a  regular  and  much  valued  member.  For  a 
short  time  we  had  the  services  of  Mr.  Sophus  Wiig,  an 
accomplished  Danish  musician,  as  tenor;  he  sang  after- 
wards at  St.  John's,  but  did  not  remain  long  in  the  coun- 
try. Mr.  Wiig  is  now  organist  and  choirmaster  of  St. 
Alban's,  the  beautiful  English  church  at  Copenhagen. 


XLII 

1883-1884 

The  Service  music  now  was  changed  more  frequently, 
no  Service  being  used  for  more  than  three,  or  perhaps 
four,  Sundays  in  succession.  In  the  three  months  of 
September,  October,  and  November  four  Te  Deums  were 
sung,  seven  Communion  Services,  and  five  Evening  Serv- 
ices. The  service  list  of  one  Sunday  will  show  the  kind 
of  music  in  use: 

iSth  Sunday  after  Trinity,  1883 

Te  Deum Cornell  in  B\> 

Benedictus Gregorian  (Stainer) 

Anthem. — "How  goodly" Ouseley 

Communion  Service Haydn,  No.  7 

Offertory. — "Rejoice,  O  Judah  " Handel 

Bass  solo  and  chorus. 

Evening 

Canticles Corje  in  B\> 

Anthem. — "The  Lord  hath  done" Smart 


212  Trinity  Church,  New  York 

Agnus  Dei  was  not  yet  regularly  sung,  the  Magnificat 
and  Nunc  dimittis  not  yet  used  as  Canticles;  in  other  re- 
spects we  cannot,  eight  years  later,  show  much  improve- 
ment on  the  programme  given  above,  which  is  laid  out 
on  a  consistent  and  proper  plan:  the  Canticles  and  an- 
thems to  good  solid  Anglican  music;  the  Communion 
Service,  including  Offertory,  of  a  more  florid  character. 
It  may  be  a  question  whether  a  florid  Communion  Service 
is  desirable  on  ordinary  Sundays,  or  whether  it  should 
be  reserved  for  festival  occasions;  our  practice  is  not 
uniform  on  this  point,  as  we  use  all  kinds.  The  only 
thing  absolutely  necessary  to  be  considered  is  the  length 
of  the  numbers,  which  must  be  taken  into  account  when 
Morning  Prayer,  Litany,  sermon,  and  Holy  Communion 
are  used  in  immediate  succession. 

The  choir  in  November  numbered  31  voices — S.  14, 
A.  4,  T.  6,  B.  7;  and  on  Christmas  Day  there  was  only 
one  additional  voice.  To  insure  a  good  effect  a  proper 
balance  of  voices  is  necessary;  and  as  boys  able  to  sing 
our  music  can  seldom  be  procured  for  special  occa- 
sions, it  is  not  always  desirable  to  add  to  the  other 
departments. 

The  choir  festival  of  this  year  was  held  at  Trinity 
Church  for  the  first  time,  five  choirs  again  taking  part. 
The  robing  rooms  being  altogether  too  small  to  accommo- 
date so  many  persons,  one  choir  was  stationed  under  the 
tower;  and  the  junction  of  this  body  with  the  general  pro- 
cession had  to  be  carefully  timed  to  prevent  a  break.  The 
anthems  were  by  Palestrina,  Gibbons,  Greene,  Stainer, 
Martin,  and  Spohr;  three  of  them  for  double  chorus. 
There  was  an  element  of  gloom  on  this  occasion:  the 
banner  of  St.  Chrysostom  choir  was  draped  in  black,  in 
mourning  for  John  D.  Prince,  the  late  choirmaster,  over 


Choir  and  Music  213 

whose  remains  the  Burial  Service  had  been  sung  on  the 
morning  of  the  same  day. 

Mr.  Prince  had  become  interested  in  the  work  of  St. 
Chrysostom  Chapel,  and,  with  the  consent  of  the  Rector 
and  Vestry,  organized  and  maintained  at  his  own  cost 
a  choir  of  men  and  boys  of  the  best  material  which  could 
be  procured.  The  head  of  an  important  business  firm, 
he  devoted  his  spare  time  to  the  study  of  music  and  to 
the  training  and  perfecting  of  his  choir,  in  which  work 
he  secured  able  professional  assistance.  The  result  of 
his  great  energy  and  liberality  was  a  choir  of  the  first 
class,  with  fine  soloists  and  a  solid  body  of  chorus.  His 
death,  after  three  years  of  this  work,  was  a  loss  to  the 
cause  of  good  Church  music,  and  was  sincerely  regretted 
by  his  choir,  who  were  much  attached  to  him.  The 
funeral  service  was  held  at  St.  Chrysostom  Chapel,  and 
was  largely  attended.  The  music  was  sung  by  the  choir 
of  Trinity  Church,  the  choir  of  the  Chapel  attending  as 
mourners;  the  Service  of  Croft  and  Purcell  was  used, 
and  Nunc  dimittis  sung  at  the  close.  F.  W.  Thursch 
officiated  at  the  organ. 

During  the  first  year  of  Mr.  Prince's  direction  I  had 
the  pleasure  of  constantly  giving  advice  and  other  assist- 
ance; from  this  as  well  as  other  causes  there  has  always 
existed  an  especially  friendly  feeling  and  cordial  coopera- 
tion between  the  choirs  of  Trinity  and  St.  Chrysostom, 
which  has  been  kept  up  during  the  administration  of  Mr. 
Prince's  successor,  Mr.  Raboch.  From  1882  the  choir  of 
St.  Chrysostom  has  taken  part  every  year  in  the  annual 
service  at  Trinity  Church  on  Ascension  Day. 

In  Advent  season  there  was  some  new  music;  a  Com- 
munion Service  by  Mr.  Baier,  Palestrina's  Motet,  "  Like 
as  the  hart,"  and  three  numbers  from  Mozart's  Requiem; 


214  Trinity  Church,  New  York 

none  of  the  anthems  being  very  well  sung.  On  Christmas 
Day,  with  old  music,  the  singing  was  not  particularly 
good;  only  the  Gloria  in  Excelsis  and  one  quartet  receiv- 
ing favorable  mention  in  my  record.  From  Advent,  nearly 
up  to  Easter,  there  was  a  good  deal  of  poor  singing,  the 
cause  of  which  is  not  recorded.  There  was  a  good  quartet 
of  soloists  and  two  very  good  solo  boys,  but  solos  and 
chorus  were  too  often  faulty.  In  all  this  season  the  only 
piece  getting  the  highest  marks  was  the  Angel  Trio,  from 
Elijah,  sung  by  Reilly,  Von  der  Heide,  and  Fruttchey. 

By  Easter  1884  the  choir  had  again  reached  the  full 
number  of  members,  thirty-six,  and  was  in  better  condi- 
tion generally.  Mr.  Barnard,  solo  tenor,  retired  in  Feb- 
ruary, and  was  succeeded  by  Mr.  Wilbur  F.  Gunn.  A 
new  bass  volunteer  was  Mr.  H.  Howland  Henry,  an  ac- 
complished amateur  who,  in  an  emergency  caused  by  Mr. 
Price's  illness,  sang  all  the  bass  solo  parts  very  efficiently. 

The  Easter  Day  service  was  a  fine  one  in  every  re- 
spect; Gounod's  St.  Cecilia  Mass  was  sung  by  request, 
and  the  Offertory  was  a  part  of  Schubert's  "  Song  of 
Miriam,"  the  music  of  which  is  bright,  effective,  and  ap- 
propriate. Two  new  treble  soloists  did  good  work  on 
this  day,  R.  O.  Irvine  and  S.  Richardson,  both  of  whom 
afterward  occupied  the  first  place  in  succession.  In  the 
afternoon  we  had  a  new  and  elaborate  Cantate  Service 
by  the  Rev.  G.  W.  Torrance,  an  Irish-Australian  clergy- 
man, who  has  composed  no  less  than  three  oratorios  be- 
sides much  other  music. 

There  was  more  new  music  on  the  Sundays  after 
Easter:  a  Te  Deum  of  Gounod,  the  Offertorium  from 
Cherubini's  4th  Mass,  and  two  numbers  from  Barnby's 
Psalm  97 — a  double  quartet,  and  the  Gloria  Patri  which 
Barnby  has  set  in  a  novel  and  effective  way,  the  chorus 


Choir  and  Music  215 

reciting  the  first  verse  in  unison  and  almost  in  monotone ; 
while  the  accompaniment  takes  the  form  of  a  brilliant 
march. 

The  service  on  Ascension  Day  introduced  a  new  Mass, 
Cherubini's  Messe  Solennelle  in  C,  which  a  writer  de- 
scribes as  "  a  tissue  of  melodic  beauties  united  to  a  con- 
summate perfection  in  the  details  of  the  vocal  and  instru- 
mental parts.  It  is  music  full  of  life,  of  piety,  and 
learning."  The  Offertory  was  Spohr's  Psalm  84,  of  which 
three  numbers  were  sung.  The  combined  choirs  of  Trin- 
ity and  St.  Chrysostom  made  up  a  chorus  of  sixty-nine 
voices — 37,  9,  9,  14;  and  the  singing  was  generally  good. 
The  orchestra,  of  the  usual  strength,  was  directed  by 
Walter  Damrosch.  Solos  were  divided  between  the  two 
choirs :  the  double  quartet  in  the  Gloria  of  Cherubini  being 
composed  of  Von  der  Heide,  Connor,  Fruttchey,  Messrs. 
Smedley,  Gunn,  Forster,  Steiner,  and  Boudinot,  all  of 
Trinity  choir,  and  the  last-named  a  new  member  with  an 
exceptionally  fine  and  deep  bass  voice.  The  services  of 
Whitsunday  and  Trinity  Sunday  do  not  call  for  particular 
mention. 

The  six  Services  and  eleven  anthems  new  during  the 
year,  were  mostly  large  and  important  compositions. 
Palestrina  and  Cherubini,  who  made  their  first  appear- 
ance, will  not  often  be  seen:  for  of  all  their  numerous 
compositions  there  is  not  much  that  is  practicable  in  these 
times.  Of  new  voices,  Mr.  James  Weir,  an  "  old  boy," 
should  be  mentioned  as  an  efficient  and  reliable  tenor  for 
about  three  years.  Several  boys  serving  during  the  last 
few  years,  without  reaching  the  distinction  of  soloists,  yet 
often  taking  secondary  parts,  deserve  mention  as  good 
and  useful  choristers,  according  to  their  various  capabili- 
ties.    These  are  Godfrey  Morgan,  the  Alberts  brothers, 


216  Trinity  Church,  New  York 

Harold  Thorne,  Howden,  Moyer,  while  in  December, 
1883,  first  appears  the  name  of  Charles  Belling,  still  sing- 
ing treble  in  1892,  and  furnishing  a  rare  instance  of  treble 
longevity. 


XLIII 

1 884- 1 885 

On  the  third  of  August  F.  W.  Thursch  played  his  last 
service;  his  health  had  not  been  good  and  he  had  spent 
July  in  the  mountains.  Unaware  of  his  serious  condi- 
tion I  left  for  my  vacation,  as  previously  arranged,  before 
the  end  of  July.  Thursch  returned  and  got  through  one 
Sunday;  the  following  Sunday  he  was  barely  able  to 
manage  the  morning  service:  in  the  afternoon  he  gave 
up,  and  the  service  was  played  by  the  Rev.  D.  J.  Ayers 
and  Fruttchey,  one  of  the  boys.  I  was  not  recalled,  but 
Mr.  Henry  Eyre  Browne,  one  of  Dr.  Cutler's  old  boys 
and  now  a  prominent  organist,  was  engaged  to  carry  on 
the  services  for  the  rest  of  the  month.  At  the  beginning 
of  September  Thursch  died,  and  his  funeral  was  held  at 
Trinity  Church  on  the  7th. 

I  had  returned  to  New  York  as  soon  as  informed  of 
Thursch's  condition ;  and  held  myself  in  readiness  for  any 
emergency,  without  interfering  with  the  services,  which 
were  in  Mr.  Browne's  hands.  The  first  Sunday  in  Sep- 
tember, which  was  the  day  of  the  funeral,  I  resumed  duty ; 
at  the  funeral  service  the  full  choir  sang  Croft  and  Pur- 
cell's  music,  with  G.  W.  Morgan  at  the  large  organ,  and 
myself  in  the  chancel.  There  was  a  large  attendance, 
which  included  many  well-known  musicians.  All  who 
had  been  associated  with  Thursch  were  saddened  by  the 


VICTOR    BAIER, 

Assistant  Organist, 

1885— 1897. 


Choir  and  Music  %  217 

early  termination  of  so  promising  a  career;  to  myself  it 
was  the  loss  of  a  faithful  friend  and  supporter. 

For  the  rest  of  September  the  large  organ  was  silent; 
but  during  the  month  an  arrangement  was  made  with 
Mr.  Baier,  who  commenced  duty  as  assistant  organist  on 
the  first  Sunday  in  October,  and  was  shortly  after  for- 
mally appointed  by  the  Vestry,  on  the  nomination  of  the 
Rector.  Mr.  Baier  had  often  accompanied  our  services 
on  the  organ,  and  had  kept  himself  in  touch  with  all  that 
was  going  on ;  this,  with  his  good  record  as  chorister  and 
known  ability  as  an  organist,  made  his  appointment  as 
desirable  generally  as  it  was  agreeable  to  myself. 

During  the  autumn  Purcell's  Evening  Service  was 
three  times  sung  with  poor  results,  the  "  verse  "  parts 
being  always  unsatisfactory:  the  singing  in  general  was 
nevertheless  good  at  this  time,  solo  as  well  as  chorus. 

A  special  service  was  held  on  the  14th  of  November, 
the  centennial  of  the  Consecration  of  Bishop  Seabury,  the 
first  American  bishop.  I  give  the  order  of  service,  which 
was  well  sung  by  a  choir  of  thirty-five  voices,  including 
a  contingent  of  eight  men  and  boys  from  St.  Chrysostom. 

Processional  Hymn. — "  Glorious  things  of  thee  are  spoken." 
Anthem. — "The  Lord  great  wonders  for  us  hath  done"   .      Hiller 

Kyrie  and  Creed,  in  C Redhead 

Offertory. — "Praise  ye  the  Lord" Hiller 

Treble  solo  (Reilly)  and  chorus 
Hymn. — "  Hark,  the  song  of  Jubilee." 
Sermon,  by  the  Rector. 

Sanctus  and  Gloria  in  Excelsis.    No.  2  .  .  Mozart 

Recessional  Hymn. — "  For  all  the  Saints." 

The  choir  festival  was  held  at  St.  John's  Chapel;  the 
anthems  being  by  Farrant,  Stroud,  Gounod,  Stainer,  and 


2i 8  Trinity  Church,  New  York 

Mr.  Le  Jeune,  who  produced  for  this  occasion  a  setting, 
for  tenor  solo  and  chorus,  of  part  of  General  Dix's  trans- 
lation of  "  Stabat  Mater." 

On  Christmas  Day  Hummel's  Mass  in  Eb  was  sung 
for  the  third  time,  and  received  at  last  a  good  and  effect- 
ive rendering:  the  chorus  work  of  the  day  was  all  good, 
and  a  little  weakness  in  some  of  the  treble  solos  was  the 
only  drawback.  Treble  solos  were  divided  between 
Reilly,  Connor,  Richardson,  and  Irvine:  the  choir  num- 
bered thirty-six,  including  four  men  engaged  for  the  day. 
The  anthems  were  "  The  morning  stars  sang  together  " 
(Stainer)  and  Gounod's  Noel.  From  this  date  Agnus 
Dei  was  always  sung  on  Sundays;  and  on  the  afternoon 
of  the  first  Sunday  after  Christmas  some  special  features 
were  introduced,  namely,  harmonized  Confession,  double 
chants  for  the  Psalms,  an  elaborate  Gloria  Patri  after 
the  last  psalm,  and  an  extended  "  amen  "  at  the  close  of 
the  prayers;  the  last  two  items  were  after  a  time  given 
up,  and  all  of  them  were  reserved  for  festal  seasons. 

The  last  two  Sundays  in  Lent  there  were  some  com- 
positions of  Gounod  sung,  new  to  us:  in  the  mornings 
a  quartet  and  chorus  from  "The  Redemption";  in  the 
afternoons,  his  setting  of  the  "  Seven  Last  Words,"  with 
the  accompanying  narrative  from  the  Gospels.  The  music 
is  "  a  capella,"  and  very  grave  and  solemn :  some  parts 
in  simple  counterpoint,  others  in  canonical  imitation.  On 
Good  Friday  the  only  parts  of  the  service  sung  were 
the  Venite  and  Benedictus  without  Glorias,  a  hymn, 
Kyries  and  the  Miserere:  this  plan  has  been  continued 
since. 

Easter  Day  three  numbers  of  Schubert's  Afc>  Mass 
were  sung  for  the  second  time;  and  the  Offertory  con- 
sisted of  four  movements  from  Barnby's  Psalm  97,  part 


Choir  and  Music  219 

of  which  had  been  sung  before.  A  treble  solo  was  sung 
by  Albert  Ford,  who  a  little  later  became  quite  a  brilliant 
soloist;  an  alto  solo  by  Fruttchey  was  very  good.  In  the 
afternoon  there  was  a  selection  from  the  Messiah,  includ- 
ing the  air  "  I  know  that  my  Redeemer  liveth,"  sung 
with  great  taste  and  feeling  by  H.  Reilly ;  and  an  elaborate 
eight-part  "  amen,"  extracted  from  the  100th  Psalm  of 
Jadassohn. 

The  Ascension  Day  service  was  a  good  one,  the  choir 
of  St.  Chrysostom  again  taking  part.  Cherubini's  Mass 
in  C  was  sung,  as  in  the  year  before;  and  the  Offertory 
was  Mendelssohn's  Psalm  114  for  double  chorus;  the 
St.  Chrysostom  choir  taking  first  chorus  throughout  and 
Trinity  choir  second.  In  the  opening  anthem,  "  Your 
harps  and  cymbals  sound,"  this  order  was  reversed.  The 
orchestra  was  directed  by  Mr.  W.  G.  Dietrich,  who  kept 
his  forces  in  hand  admirably:  the  orchestra  was  more 
thoroughly  in  accord  with  the  choir  than  for  many  years 
before. 

On  Whitsunday  Hummel's  Eb  Mass  was  sung;  be- 
yond this  there  was  nothing  of  importance  for  the  rest  of 
the  season,  though  we  had  some  good  treble  solos  from 
Ford  and  R.  Jaffray. 

Of  new  music  during  the  year  there  were  five  English 
Services  and  twelve  anthems;  two  of  Gounod  and  the 
others  English.  Two  bass  volunteers  are  worthy  of  men- 
tion, the  Rev.  F.  De  Lyon  Nicholl  and  Mr.  C.  W.  Shone. 


220 


Trinity  Church,  New  York 


XLIV 

1885-1886 

On  the  30th  of  September  the  Centenary  of  the 
Diocese  and  the  opening  of  the  I02d  Diocesan  Convention 
were  celebrated  by  services  at  Trinity  Church.  Morning 
Prayer  was  sung  at  nine  o'clock  by  a  choir  of  eighteen 
voices;  there  were  no  processionals,  but  the  psalms  were 
chanted  and  a  short  Te  Deum  and  Benedictus  with 
Litany  sung.  At  ten  followed  the  High  Celebration,  the 
Right  Rev.  H.  C.  Potter,  then  Assistant  Bishop,  being 
Celebrant,  the  Bishops  of  Long  Island  and  Western  New 
York  Epistoler  and  Gospeler;  the  Bishops  of  Albany,  Ten- 
nessee, and  New  Jersey  also  assisting.  There  was  a  choir 
of  thirty-one  voices,  including  six  men  and  boys  from  St. 
Chrysostom.     The  order  of  service  was  as  follows: 

Processional. — "The  Church's  one  Foundation." 

Anthem. — "All  they  that  trust" Hiller 

Kyrie  and  Sanctus Cherubini 

Creed. — Monotone. 

Sermon  by  the  Rev.  W.  J.  Seabury,  D.D. 
Offertory. — "Round  Jerusalem  stand  the  mountains."   .      Hiller 

Gloria  in  Excelsis Old  chant 

Recessional. — "  Hark  the  sound  of  holy  voices." 


The  two  anthems  included  the  greater  part  of  Hiller's 
Psalm  125,  one  number  only  being  omitted;  the  tenor 
solo  in  the  Offertory  sung  by  Mr.  W.  F.  Gunn.  With  re- 
gard to  the  music  selected,  I  quote  from  the  year  book  of 
1886:  "It  was  intended  in  this  service  to  combine  the 
effect  of  the  highest  forms  of  Sacred  Art  with  the  impres- 
sive effect  of  congregational  worship,  by  selecting  Cheru- 


Choir  and  Music  221 

bini  and  Hiller  for  the  more  elaborate  parts  of  the  musical 
office,  and  permitting  the  vast  congregation — composed 
almost  exclusively  of  men — to  intone,  as  one,  the  Nicene 
Creed,  and  to  unite  in  the  old  and  familiar  cadences  now 
inseparably  associated  in  our  hearts  with  the  '  Gloria  in 
Excelsis.'  " 

In  the  eight  weeks  before  Advent  four  new  Services 
and  six  new  anthems  were  sung:  among  these  were  the 
Te  Deum  and  Benedictus  of  Hodges  in  D,  the  "  New  York 
Service  " ;  and  of  Stanford  in  Bfc>,  one  of  the  most  original 
and  striking  of  modern  Services ;  a  selection  from  Spohr's 
"Last  Judgment"  on  All  Saints'  Day;  "Whoso  dwell- 
eth  "  (Martin),  and  "  Thou  visitest  the  earth  "  (Calkin)  : 
the  latter  being  an  especially  graceful  and  symmetrical 
composition. 

The  thirteenth  annual  choir  Festival  was  held  at  Trin- 
ity Chapel ;  the  programme  was  a  very  fine  one,  containing 
compositions  of  Giovanni  Croce,  V.  Richardson,  Bach, 
Mendelssohn,  Spohr,  and  Dr.  Gilbert. 

Christmas  Day,  the  Mass  was  Weber  in  Efc>,  anthems 
by  Mozart  and  Gade;  nothing  was  new.  In  Epiphany 
season  Wesley's  "  Wilderness  "  was  sung  once,  but  not 
very  well  sung;  the  general  work  was  however  good  at 
this  time.  R.  O.  Irvine  was  treble  leader,  Reilly  and 
Richardson  having  successively  retired  in  the  ordinary 
course.  Mr.  Smedley,  alto,  left  us  in  August,  1885,  after 
seventeen  years'  service,  and  Frank  Fruttchey  was  alto 
soloist;  the  latter  has  developed  into  a  very  skilful  organist 
since  then,  and  will  in  due  time  make  his  mark.  Mr. 
Frank  Barnard  had  returned  as  solo  tenor,  in  place  of 
Mr.  Gunn.  Bass  solos  were  safe  with  Mr.  Price;  a  new 
bass  was  Gouverneur  L.  Norris,  who  had  sung  treble  in 
1882-3;  his  voice  changed  early,  and  at  the  age  of  sixteen 


222  Trinity  Church,  New  York 

he  had  a  good  bass  voice,  not  fully  developed,  of  course, 
but  good  in  quality  and  low  in  compass.  A  curious  con- 
trast to  another  boy,  Belling,  who  was  singing  a  natural 
treble  at  the  age  of  eighteen. 

Easter  Day,  1886,  Guilmant's  Mass  in  Eb  was  first 
sung :  quite  an  orthodox  Mass  with  the  regulation  fugues, 
which  we  abbreviated.  The  music  is  bright  and  interest- 
ing, with  some  occasional  clever  points.  Guilmant,  born 
in  1837,  is  organist  of  the  Church  of  La  Trinite,  Paris, 
and  well  known  as  an  organ  virtuoso. 

On  Ascension  Day  the  choir  of  St.  Chrysostom,  di- 
rected by  Mr.  Raboch,  again  took  part;  making  with 
ourselves  a  chorus  of  70  voices.  The  Mass  was  new, 
Haydn  No.  3,  a  florid  and  difficult  work,  which  was  given 
in  satisfactory  style,  with  only  one  or  two  weak  spots  in 
the  solos.  The  Kyrie  was  sung  as  opening  anthem,  set 
to  jubilant  and  more  appropriate  words  by  J.  H.  Cornell ; 
the  brilliant  solo  part  well  sung  by  Albert  Ford.  R.  O. 
Irvine,  Dudley  Walke,  and  A.  Moyer  also  had  solo  parts ; 
the  solos  in  the  Creed  and  Agnus  were  taken  by  St. 
Chrysostom  choir.  The  Offertory  was  Spohr's  24th 
Psalm,  first  sung  at  the  choir  festival  in  November. 
This  is,  I  believe,  a  posthumous  work,  and  no  orchestral 
score  is  known  to  exist.  It  was  scored  for  us  by  Mr. 
Dietrich,  who  directed  the  orchestra;  Mr.  Baier  was  at 
the  great  organ  and  Mr.  W.  R.  Hedden,  an  old  boy,  at 
the  chancel  organ.  The  orchestra  numbered  35,  but  was 
made  up  somewhat  differently  from  the  usual  plan ;  there 
were  no  clarinets  or  trombones,  as  they  were  not  required 
in  the  Haydn  score;  and  the  strings  were  increased  to 
24—8  first  violins,  6  second,  4  tenors,  3  'celli,  and  3  bassi. 
The  orchestral  accompaniment  at  this  service  was  par- 
ticularly good. 


Choir  and  Music  223 

After  this,  to  the  end  of  the  season,  there  was  nothing 
of  special  interest;  and  it  only  remains  to  give  a  short 
summary  of  the  year's  productions.  Of  these  there  were 
7  Services:  two  English,  Stainer  and  Stanford,  and 
three  American,  Hodges,  Cornell,  and  Whitney;  with  the 
Masses  of  Haydn  and  Guilmant:  14  anthems,  ten  English 
and  three  German. 

According  to  the  plan  of  services  fixed  about  1880,  and 
since  then  adhered  to,  we  made  use  of  three  classes  of 
anthems,  the  distinction  having  regard  chiefly  to  length: 
first,  a  very  short  anthem  for  the  Introit,  often  a  small 
part  of  an  anthem,  as  short  as  it  could  be  made  without 
sacrificing  the  sense  of  words  or  music;  second,  a  longer 
and  more  elaborate  anthem  at  the  Offertory,  with  or  with- 
out solos,  occupying  sufficient  time  for  the  collection  and 
presentation  of  alms,  and  generally  no  more;  third,  the 
afternoon  anthem,  on  which  no  restriction  was  laid  as  to 
time  occupied  or  style.  If  afternoon  anthems  are  used  at 
the  Offertory,  they  have  to  be  cut  down,  when  necessary, 
so  as  not  to  exceed  the  allotted  time.  When  Morning 
Prayer,  Litany,  Communion,  and  Sermon  are  used  in 
immediate  succession,  the  necessity  for  avoiding  undue 
length  in  the  music  is  obvious.  For  the  same  reason  we 
have  three  classes  of  Communion  Service:  for  High  Fes- 
tivals, for  ordinary  Sundays,  and  for  Saints'  Days:  the 
latter  short  and  without  solos;  these  are  used  also  on 
Sundays  in  July  and  August,  when  the  choir  is  reduced 
by  vacations. 


224 


Trinity  Church,  New  York 


XLV 


i 886- i 887 

In  the  autumn,  the  Communion  Services  of  Tours  in 
C  and  Selby  in  A  came  into  use;  both  very  modern  in 
style,  with  original  and  characteristic  points.  Wesley's 
anthem,  "  O  give  thanks,"  contains  a  treble  solo  with  a 
range  of  two  octaves,  Bb  to  Bb,  and  requires  an  excep- 
tional voice;  the  solo  was  well  sung  by  Albert  Ford. 

The  fourteenth  annual  service  by  the  choirs  of  the 
Parish  was  held  at  Trinity  Church.  The  programme  in- 
cluded a  Magnificat  for  double  choir  by  Dr.  Gilbert,  and 
anthems  by  Byrd,  Croft,  Mozart,  Smart,  Wesley,  and 
Gadsby. 

The  General  Convention  of  this  year  authorized  cer- 
tain changes  in  the  service;  the  most  important  being 
the  admission  of  the  entire  Benedictus  in  the  morning, 
and  the  Magnificat  and  Nunc  dimittis  in  the  evening 
service.  Until  Advent,  1882,  we  had  used  Benedictus  or 
Jubilate  as  might  be  most  convenient,  most  often  the 
latter ;  from  that  date  Jubilate  was  given  up,  and  the  short 
Benedictus  sung  every  Sunday,  generally  to  one  of  Stain- 
er's  arrangements  of  Gregorian  tones.  Now  we  began 
to  sing  the  entire  Benedictus,  still  using  Gregorian  ar- 
rangements for  nearly  a  year.  We  had  in  the  library 
and  in  periodical  use  34  Te  Deums,  17  Jubilates,  and 
only  7  Anglican  settings  of  Benedictus.  Four  of  these 
latter  were  English,  and  had  to  be  altered,  more  or 
less,  to  fit  the  short  version ;  the  other  three  were  Ameri- 
can, by  Hodges,  Tuckerman,  and  Cornell.  The  change 
in  1886  involved  a  good  deal  of  work  in  adjusting  the 
music.     Even  now,  ten  years  later,  the  two  Canticles  are 


Choir  and  Music  225 

sometimes  by  different  composers,  and  in  different  keys, 
which  is  objectionable,  considering  their  close  connection 
in  the  service.  The  difficulty  might  be  avoided  by  treat- 
ing the  Benedictus  in  the  same  way  as  the  Venite;  using 
a  chant  and  making  it  a  congregational  hymn;  but  this 
would  not  be  in  accordance  with  tradition  and  would  put 
the  Gospel  hymn  on  a  lower  level  than  the  Te  Deum. 

Magnificat  and  Nunc  dimittis  were  adopted  as  the 
regular  evening  canticles  in  the  following  Epiphany 
season.  On  the  first  Sunday  in  the  month,  however,  the 
old  order  was  retained:  Magnificat  to  a  Gregorian  tone 
at  close  of  the  service,  and  other  Canticles  after  the  Les- 
sons. Nunc  dimittis  had  been  chanted  at  the  end  of  Com- 
munion service  from  Christmas,  1866,  to  Epiphany,  1887; 
now  it  was  replaced  in  that  position  by  Psalm  117  to  a 
Gregorian  tone. 

On  Christmas  Day  the  Mass  was  Schubert  in  F,  in- 
cluding the  "  Benedictus  qui  venit,"  which  was  then  sung 
for  the  first  time ;  there  was  no  new  music,  and  the  singing 
was  rather  below  the  usual  mark. 

The  funeral  service  of  the  late  Bishop  of  the  Diocese, 
Right  Reverend  Horatio  Potter,  was  held  at  Trinity 
Church  January  7th;  the  full  choir  attended,  both  organs 
were  used,  and  the  usual  music  (Croft  and  Purcell) 
sung. 

An  appreciative  notice  of  this  service  appeared  in  a 
newspaper,  part  of  which  I  quote,  as  the  opinion  of  an 
independent  and  competent  critic,  Rufus  Hatch,  whose 
name  is  subscribed  to  it. 

After  alluding  to  the  large  attendance  he  continues 
thus :  "  The  choir  and  the  clergy  all  went  down  the  south 
aisle  and  proceeded  up  the  main  nave.  The  words  com- 
mencing   '  I    am    the    resurrection '    were    uttered    in    a 


226  Trinity  Church,  New  York 

sonorous  voice  in  a  most  distinct  and  impressive  manner. 
Then  '  Lord,  let  me  know  my  end,'  etc.,  was  rendered  in 
a  most  effective  manner — certainly  with  more  power  and 
grace  than  I  have  ever  heard  in  this  country  or  in  Europe. 
.  .  .  Then  followed  the  hymn  '  Rise,  my  soul '  to  a  differ- 
ent tune  than  the  usual  one,  but  vastly  more  effective  (Dr. 
Hodges'  tune  'Joy  ').  The  remainder  of  the  service  was 
sung  splendidly  until  they  came  to  the  committal  '  Dust 
to  dust.'  I  do  not  know  the  names  of  the  Bishops  or 
Clergy  who  rendered  the  different  parts  of  the  service, 
but  I  was  struck  with  their  beautiful  reading  and  clear, 
sonorous  intonations.  ...  I  have  attended  services  at 
Westminster  Abbey  for  months,  and  occasionally  at  St. 
Paul's,  but  outside  of  the  Madeleine  at  Paris,  and  the 
Sistine  Chapel  at  Rome,  which  latter  is  unique  and  in- 
comparable, I  have  never  heard  anything  to  equal  the 
volume  and  richness  of  the  choral  service  that  morning. 
The  concluding  hymn  was  '  O  Paradise,'  and  was  sung 
exquisitely.  The  fine  soprano  of  the  boys  and  the  deep, 
rich  tones  of  the  bassos  were  beyond  criticism.  I  will 
stake  old  Trinity  against  any  other  church  in  the  world 
for  the  purity  of  its  ritual  and  its  music." 

In  Epiphany  and  Septuagesima  seasons  there  was 
nothing  of  importance;  the  choir  was  nearly  at  its  full 
strength — 16,  5,  5,  8 — and  the  singing  is  recorded  as 
generally  good.  In  Lent  there  were  a  number  of  new 
anthems,  including  six  numbers  from  Gounod's  "  Redemp- 
tion," and  the  Kyrie  of  Schubert's  Mass  in  F,  all  new, 
beautiful,  and  appropriate.  The  solos  in  these  pieces  re- 
ceived full  justice  from  the  excellent  quartet — A.  Ford, 
Howard  Knapp,  Messrs.  Barnard  and  Price. 

Hummel's  Mass  in  Bb  was  first  sung  on  Easter  Day: 
it  is  choral  throughout.    Less  difficult  than  the  Eb  Mass, 


Choir  and  Music  227 

the  choral  work  shows  a  wonderful  degree  of  ingenuity 
and  variety,  while  the  graceful  and  beautiful  melodies  are 
worthy  of  Mozart;  the  Benedictus  is,  in  this  respect,  a 
gem,  of  which  we  could  sing  only  a  small  portion.  The 
Kyrie  and  Dona  of  this  Mass  were  sung  as  afternoon 
anthem  on  Septuagesima  Sunday.  The  Introit  was  a 
short  double  chorus  from  a  long  anthem  by  Ouseley; 
the  only  solos  in  the  service  occurred  in  the  Offertory, 
which  consisted  of  three  numbers  from  Hiller's  "  Song  of 
victory."  In  the  afternoon  we  had  for  the  first  time 
Calkin's  Service  in  G,  and  a  selection  from  "  The  Mes- 
siah " :  "  The  trumpet  shall  sound,"  bass  solo ;  the  duet, 
"  O  death,  where  is  thy  sting,"  with  succeeding  chorus, 
and  the  "  Hallelujah  " ;  choir  numbered  thirty-six.  The 
treble  solo  in  the  morning  Offertory  was  sung  by  Ford, 
and  was  his  last;  for  circumstances  over  which  he  had  no 
control,  and  closely  connected  with  his  larynx,  forced  him 
to  retire.  He  was  succeeded  as  leader  by  Arthur  L. 
Brown,  who  made  a  good  and  reliable  chef  d'attaque  for 
just  a  year;  high  treble  solos  falling  to  Frank  Carland, 
others  to  Belling  and  Howard  Jaffray,  who  were  now  com- 
ing to  the  front.  The  latter  had  a  beautiful  mezzo-soprano 
voice,  which  was  from  this  time  often  heard,  and  always 
with  pleasure.  Most  of  the  alto  solos  were  sung  by  Julius 
Baier,  the  last  of  four  brothers,  Howard  Knapp  and 
Arthur  Kennedy  being  good  seconds.  There  were  at  this 
time  five  members  of  the  choir  named  Brown  or  Browne, 
two  of  them  brothers;  of  the  others,  who  were  in  no  way 
related,  two  were  named  Arthur  Brown. 

The  processional  on  Ascension  Day  was  a  choral 
march  from  Macfarren's  oratorio,  "  King  David,"  a  good 
deal  more  varied  and  difficult  than  anything  used  before 
for  this  purpose.     There  was  a  little  uncertainty  at  the 


228  Trinity  Church,  New  York 

start,  where  the  tenor  voices  alone,  with  a  light  accom- 
paniment, are  employed;  the  rhythm  not  being  well 
marked,  a  little  unsteadiness  was  felt,  but  it  soon  disap- 
peared as  the  other  voices  and  more  instrumental  support 
came  in,  and  the  march  increased  in  force  and  effect  to 
its  brilliant  ending.  The  Churchman  in  describing  the 
service  of  the  following  year,  when  the  same  processional 
was  used,  said:  "The  processional  was  an  exceedingly 
bold  attempt,  as  anthem-singing  in  procession  is  not  easily 
accomplished;  but  the  result  was  more  than  satisfactory. 
After  the  great  organ  prelude,  the  brass  in  the  orchestra 
gave  the  herald  blasts  which  introduce  the  procession  of 
priests  with  the  ark,  from  Macfarren's  sacred  cantata  of 
"  David."  The  great  choir  was  perfect  in  the  delivery,  the 
antiphonal  passages  in  unison  for  men,  and  in  full  har- 
monies, admirably  sustained  by  the  orchestra,  being  taken 
up  with  precision  and  enthusiasm." 

It  is  difficult  to  find  music  suited  for  this  purpose, 
music  of  the  right  character  and  just  the  required  length ; 
nothing  yet  has  proved  more  satisfactory  and  effective 
than  Dr.  Hiles'  march,  "  O  Zion,  blest  city,"  which  we 
have  used  many  times. 

The  Mass  at  this  service  was  Haydn  No.  3,  as  in  the 
previous  year;  it  was  not  quite  so  well  done  this  time, 
though  some  parts  were  good,  and  especially  the  Creed. 
Our  best  effect  was  made  in  the  Offertory,  the  first  num- 
ber of  Mendelssohn's  "  Athalie,"  in  four  movements,  with 
solo  parts  for  two  trebles  and  alto.  The  second  move- 
ment, "  O  Sinai,  thou  theme  of  never-ending  story,"  is 
quite  dramatic,  the  voices  declaiming  in  unison,  and  the 
accompaniments  suggesting  "  the  clouds  of  the  storm " 
and  the  "  vivid  lightning  "  mentioned  in  the  text.  The 
orchestra,  directed  by  Mr.  Dietrich,  was  on  the  old  plan 


Choir  and  Music  229 

— strings  20,  wood-wind  8,  brass  and  drums  8:  and  ac- 
companied with  great  precision.  The  combined  choirs 
made  up  68  voices,  and  the  chorus  work  was  generally 
good:  the  weak  spots  occurred  in  the  solos,  of  which 
those  in  the  Mass  were  taken  by  Trinity  Church  choir; 
those  in  the  anthem  "O  risen  Lord"  (Barnby)  and 
Offertory,  by  St.  Chrysostom  choir.  Gounod's  St.  Cecilia 
Mass  was  sung  on  Whitsunday  with  anthems  of  Elvey 
and  Barnby. 

There  were  several  newcomers  in  the  choir  this  sum- 
mer: Mr.  Ward,  a  musical  enthusiast  and  possessor  of 
a  fine  natural  alto  voice;  Mr.  Thalberg,  principal  tenor, 
in  place  of  Mr.  Barnard;  and  Messrs.  Walter  Drill  and 
Janes,  basses;  Mr.  A.  A.  Hayes  was  also  singing  this 
season. 

Six  new  Services  were  sung  during  the  year;  2 
Morning,  2  Communion,  and  2  Evening,  besides  Hum- 
mel's  Mass;  seventeen  new  anthems:  6  English,  6  Gou- 
nod, and  others  by  Schubert,  Mendelssohn,  Hummel. 
New  Evening  Services  were  from  this  time  always  Mag- 
nificat and  Nunc  dimittis,  and  during  the  next  year  six 
were  added. 


XLVI 

1887-1888 

Sunday  afternoon,  June  19th,  a  special  service  was 
held  to  commemorate  the  Jubilee,  or  fiftieth  anniversary 
of  the  accession  of  Queen  Victoria  to  the  English  throne. 
The  occasion  was  universally  celebrated  in  England,  and 
various  anthems  were  composed  for  it,  notably  one  by 


230  Trinity  Church,  New  York 

Dr.  Bridge,  which  was  sung  at  the  State  Service  in  West- 
minster Abbey  attended  by  the  Queen  and  Royal  Family; 
also  two  by  Dr.  Stainer,  the  shorter  of  the  two  being  used 
at  the  celebrations  here,  though  the  more  important  one 
was  sung  at  the  choir  festival  in  November. 

The  Englishmen  of  Brooklyn  took  the  lead  with  a  very 
effective  service  by  a  large  choir  at  St.  Mary's  Church, 
which  was  largely  attended.  The  New  York  service  was 
due  to  the  patriotism  and  energy  of  the  Rev.  Dr.  Parker 
Morgan,  Rector  of  the  Church  of  the  Heavenly  Rest  and 
Chaplain  of  the  St.  George's  and  St.  David's  Societies,  who 
directed  the  arrangements  and  delivered  the  address.  The 
choral  force  was  made  up  of  the  choirs  of  Trinity  Church 
and  the  Heavenly  Rest,  with  a  detachment  from  St.  Chrys- 
ostom,  making  a  total  of  70  voices.  The  order  of  service 
was  as  follows: 

Processional  Hymn. — "Rejoice,  ye  pure  in  heart"  .  .  Messiter 
Proper  Psalms,  20,  21. 

Magnificat  and  Nunc  Dimittis,  en  Eb  .  .  .  .  Garrett 
Anthem. — "Let  every  soul  be  subject"  ....  Stainer 
Hymn. — "Now  thank  we  all  our  God." 

Address 
Offertory. — Organ  solo.    Variations  on  "  God  save  the  Queen." 

Played  by  Mr.  Baier.  Rinck 

Recessional  Hymn. — "  Before  the  Lord  we  bow." 

Dr.  Stainer's  anthem  is  simple,  and  consists  of  a  reci- 
tative for  tenors  and  basses,  short  treble  solo,  and  a  spir- 
ited full  chorus,  followed  by  a  chorale;  the  opening  and 
closing  movements  are  in  the  key  of  D,  while  the  body 
of  the  anthem  is  in  Bb,  and  the  latter  makes  a  very  good 
short  anthem  for  general  use,  by  discarding  the  first  and 
last  pages,  which  alone  have  reference  to  the  special  occa- 


Choir  and  Music  231 

sion,  and  are  in  a  strange  key;  it  looks  as  if  they  were 
tacked  on,  for  the  occasion,  to  a  movement  previously 
composed.  Stainer's  other  Jubilee  anthem  is  quite  a 
different  affair,  and  may  take  rank  nearly  with  his  best 
work. 

Our  services  have  always  been  kept  up  through  the 
summer,  as  nearly  as  possible  at  the  regular  standard, 
but  with  smaller  choir,  shorter  music,  few  solos,  and  the 
small  organ  only ;  the  Canticles  always  to  "  Services,"  and 
the  usual  three  anthems.  Each  member  of  the  choir  is 
allowed  three  Sundays'  vacation,  about  one-third  of  the 
choir  being  relieved  from  duty  at  one  time.  As  August 
is  the  month  generally  preferred,  and  as  there  is  diffi- 
culty in  carrying  out  the  rule  strictly,  the  services  in  that 
month  often  suffer;  on  one  Sunday,  in  1882,  the  entire 
programme,  with  a  solo  anthem  in  the  afternoon,  was  sung 
by  thirteen  voices.  On  an  August  Sunday  in  1887  there 
were  fifteen  voices,  who  sang 

Te  Deum Boyce  in  C 

Benedictus Gregorian  tone 

Anthem. — "From  all  that  dwell" Walmisley 

Communion  Service,  in  E Barnby 

Offertory. — "All  they  that  trust" Hitter 

(One  chorus.) 

Evening  Service,  in  D Martin 

Anthem. — "Send  out  thy  light" Gounod 

with  psalter,  five  hymns,  responses,  etc.,  etc.  This  repre- 
sents the  usual  order  of  music  in  July  and  August.  On 
the  first  Sunday  in  September  there  were  27  voices,  and 
in  the  middle  of  October  33,  the  volunteer  members  having 
then  returned. 

We  now  took  up  Anglican  settings  of  the  "  Benedictus 


232  Trinity  Church,  New  York 

Dominus,"  the  first  being  Selby  in  C,  which  was  used  with 
the  Te  Deum  of  Whitfeld  in  E,  and  then  with  other  Te 
Deums;  an  incongruous  arrangement,  but  unavoidable. 
Dr.  Stainer,  in  one  of  his  Services,  has  Te  Deum  in  Bb 
and  Benedictus  in  D;  so  that  there  is  some  authority 
for  the  practice,  which  is  contrary  to  long-established 
usage. 

In  October  a  Communion  Service  by  the  Rev.  W.  H. 
Cooke  was  sung  for  three  Sundays;  also  a  beautiful  set- 
ting by  Gounod  of  the  hymn  "  Glory  to  Thee,  my  God,  this 
night,"  originally  written  for  a  solo  voice.  In  November 
the  evening  Service  of  Hodges  in  F  was  revived. 

The  fifteenth  annual  choir  Festival  was  held  at  St. 
John's  Chapel,  with  an  unusually  varied  programme,  all 
of  it  being  19th  century  music.  The  Magnificat  was  by 
Dr.  Gilbert;  the  anthems,  compositions  of  Zingarelli,  Men- 
delssohn (Ave  Maria),  Rossini  (from  Stabat  Mater), 
Stainer,  Woodward,  and  Le  Jeune. 

For  twenty-one  years  we  had  been  singing  proces- 
sional hymns  at  all  services,  Good  Friday  being  the  only 
exception ;  the  time  had  now  come  when  a  change  was  to 
be  made  in  this  particular.  In  England  the  use  of  pro- 
cessionals had  been  everywhere  given  up  at  ordinary 
services;  they  were  reserved  for  special  occasions,  in  the 
cathedrals  they  never  were  used.  This  fact  induced  the 
Rector  to  order  that  they  should  be  omitted  at  Trinity 
Church  in  the  penitential  seasons:  which  was  accord- 
ingly done  in  Advent  season,  1887.  The  change  did  not 
meet  with  universal  approval;  it  is  said  that  one  family, 
well-known  and  regular  attendants  at  our  services,  walked 
out  of  the  church  when  they  saw  the  choir  enter  in  silence. 
It  is,  however,  a  good  way  of  marking  the  penitential 
seasons,   apart   from   other   considerations,   and   entirely 


Choir  and  Music  233 

reasonable  on  that  ground  alone;  in  course  of  time  the 
processionals  will  probably  be  reserved  for  festivals  and 
special  services  as  in  England. 

Another  change  made  at  this  time,  by  direction  of  the 
Rector,  was  the  substitution  of  double  chants  for  the 
simple  tunes  in  the  old  Psalter;  this  met  with  pretty  gen- 
eral approval.  The  double  chant  demands  generally  a 
larger  compass  of  voices,  and  will  sometimes  include  one 
or  two  notes  out  of  the  reach  of  untrained  singers.  The 
extreme  compass  of  double  chants  is  ten  notes,  though 
that  is  exceptional;  the  greatest  compass  of  single  chants 
is  eight  notes,  in  rare  cases;  most  of  them  do  not  exceed 
five  or  six.  The  old  and  genuine  Gregorian  tones  are 
limited  to  five  notes;  the  Peregrine  has  six,  and  some 
modern  forms  include  eight.  It  is  important  that  the  re- 
citing note  be  at  a  convenient  pitch,  not  too  high,  and  this 
condition  is  rarely  disregarded  by  composers.  For  our 
use  the  St.  Paul's  Cathedral  selection  was  adopted,  as 
the  best  in  respect  of  both  the  character  of  the  tunes  and 
legibility  of  type. 

For  some  years  past  plainsong  responses  had  been 
sung  in  penitential  seasons,  and  it  was  so  this  year ;  after- 
wards the  plainsong  was  given  up,  to  avoid  the  discord 
caused  by  Sunday-school  children  and  congregation  sing- 
ing Tallis,  which  does  not  accord  with  the  usual  plainsong 
harmonies.  We  now  use  Tallis  throughout  the  year,  sing- 
ing all  responses  without  organ  in  Advent  and  Lent.  It 
is  much  to  be  desired  that  Sunday-schools  and  mission 
choirs  should  be  taught  to  sing  plainsong  responses  al- 
ways; there  would  then  be  no  clashing  with  the  choir 
when  singing  Tallis,  as  the  latter  has  the  plainsong  in  the 
tenor  part. 

Christmas  Day  Saint-Saens'  Mass  was  sung,  and  Offer- 


234  Trinity  Church,  New  York 

tory  by  the  same  composer;  neither  of  them  new.  The 
Lord's  Prayer,  to  Merbecke's  version,  harmonized  and 
arranged  by  Dr.  Stainer,  was  first  sung,  also,  after  the 
Benediction,  an  elaborate  Amen  from  Liszt's  "  Christus." 
The  choir  numbered  34  and  singing  was  good.  The  fes- 
tival fell  on  a  Sunday,  and  in  the  afternoon  we  had  a  new 
Service,  Martin  in  C ;  for  anthem  a  solo  from  the  "  Mes- 
siah "  followed  by  a  Barnby  anthem;  after  the  prayers 
the  Dresden-Stanford  Amen;  and  at  the  Offertory  "  Glory 
to  God,"  by  Pergolesi,  a  simple  and  quaint  movement  from 
a  Gloria  in  Excelsis ;  this  was  much  used  in  England  thirty 
or  forty  years  ago,  but  is  not  often  heard  now. 

Two  of  Mendelssohn's  eight-part  Psalms  were  sung  in 
Lent,  Psalms  42  and  22 ;  also  the  first  movement  of  Psalm 
13  by  the  same  composer,  "  Lord,  how  long  wilt  Thou 
forget  me/'  the  solo  part  in  this  well  sung  by  Julius  Baier. 

There  was  an  especially  good  Service  on  Easter  Day, 
comprising  Haydn's  Mass  No.  1,  and  part  of  Mendels- 
sohn's 95th  Psalm.  There  was  new  music  in  the  after- 
noon, Smart  in  Bfc>,  a  very  fine  Service;  anthem  from  the 
"  Messiah,"  and  a  short  "  Hallelujah  "  chorus  from  Han- 
del's "  Judas  Maccabaeus." 

The  Mass  on  Ascension  Day  was  Schubert  in  Afc>, 
which  we  had  previously  sung  with  organ  accompaniment, 
and  was  now  heard  to  better  effect  with  Schubert's  orches- 
tration; cuts  were  of  course  made,  for  the  Mass  is  very 
long.  The  anthems  were  both  by  Mendelssohn,  the  first 
from  "  Lauda  Sion,"  and  the  Offertory,  Psalm  98.  Treble 
solos  were  shared  by  Belling  and  Howard  Long;  the 
latter  had  a  voice  of  beautiful  quality  and  a  fine  musical 
organization,  but  was  kept  back  a  good  deal  by  indifferent 
health ;  he  sang  with  us  for  nearly  four  years,  and  then  was 
induced  to  enter  another  choir;  the  first  case  of  that  kind 


Choir  and  Music  235 

which  had  occurred  with  me.  Alto  soloist  was  Julius 
Baier;  tenor,  Mr.  C.  S.  Phillips,  who  came  in  on  the  1st 
of  May.  The  St.  Chrysostom  choir  took  part  as  usual, 
and  had  a  share  of  the  solos.  Mr.  Raboch  was  at  the 
chancel  organ,  Mr.  Baier  at  the  large  organ,  and  Mr. 
Dietrich  directed  the  orchestra. 

The  Churchman  gave  a  report  of  this  service,  clos- 
ing with  the  following  remarks :  "  There  were  none  of 
the  minor  casualties  to  be  apprehended  on  such  great 
occasions.  Only  once,  in  an  extremely  involved  passage 
in  the  finale  of  the  Gloria  in  Excelsis,  confusion  for  an 
instant  was  perceptible.  But  from  first  to  last,  the  rhythm, 
phrasings,  antiphonal  effects  moved  truly,  evenly,  and 
without  a  blur.  This  is  no  slight  achievement  when  we 
take  into  account  the  magnitude  of  the  choir  and  its  ex- 
ceptional formation,  the  two  organs  and  the  orchestra, 
together  with  the  great  distance  between  the  conductor 
and  his  voices,  and  the  great  organ  and  orchestra." 

On  Whitsunday,  with  Gounod's  "  Sacred  Heart " 
Mass,  we  sang  at  the  Offertory  a  composition  by  Schu- 
bert, entitled  "  God  in  nature,"  written  in  1822  for  a 
chorus  of  female  voices,  and  arranged  by  myself  for  a 
chorus  of  mixed  voices  with  tenor  solo;  it  is  in  two  move- 
ments, and  the  first  is  very  fine  and  original. 

The  list  of  new  Services  during  the  year  is  longer  than 
usual;  there  was  a  need  of  more  Magnificats,  so  we  find 
six  new  settings  of  evening  Canticles,  against  four  other 
Services ;  of  the  twelve  new  anthems,  eight  were  English. 


236  Trinity  Church,  New  York 

XLVII 
1888-1889 

This  summer  Arthur  Brown,  leader,  and  Carland, 
treble  soloist,  dropped  out  and  Belling  became  leader,  a 
position  which  he  held  for  three  years.  For  treble  solos 
we  now  had  Belling,  Long,  and  H.  Jaffray;  for  alto  Mr. 
Ward,  Julius  Baier,  and  G.  S.  Trimble,  whose  strong 
voice  developed  early  into  a  good  bass.  For  tenor  there 
were  Messrs.  Phillips,  Farr,  and  Forster;  for  bass  Messrs. 
Price,  Steiner,  Drill,  Norris,  and  Wood.  The  choir  was 
therefore  in  good  condition,  and  we  had  some  good  work 
in  the  autumn.  From  September  to  Advent  there  was 
much  new  music ;  three  evening  Services  and  five  anthems. 
One  of  the  latter  was  a  part  of  Dr.  Hodges'  "  I  was  glad," 
composed  for  the  consecration  of  Trinity  Chapel ;  another 
was  a  long  and  interesting  composition  of  F.  Cowen,  writ- 
ten for  the  opening  of  the  Exhibition  at  Melbourne,  Aus- 
tralia, in  1887;  it  is  in  three  movements,  the  first  two 
being  particularly  good.  The  first  number  was  sung  on 
Thanksgiving  Day,  and  on  the  previous  Sunday  after- 
noon the  entire  work,  which  occupies  about  twenty 
minutes. 

The  sixteenth  annual  choir  festival,  held  always  on 
the  Thursday  before  Thanksgiving,  took  place  at  Trinity 
Chapel,  when  a  carefully  selected  programme  of  nine 
English  anthems  was  presented;  beginning  with  a  speci- 
men by  Dr.  Fairfax,  1488,  and  continuing  with  works  of 
Redford,  1540,  Creyghton,  1680,  Clarke,  1700,  Battishill, 
1778,  Wesley,  1849,  Macfarren,  1855,  Stewart,  i860,  and 
Dr.  Gilbert.  This  programme  was  very  interesting  to 
the  student  of  church  music;  showing  the  development  of 


Choir  and  Music  237 

the  English  anthem  from  almost  the  birth  of  counter- 
point to  its  culmination  in  the  works  of  Dr.  S.  S.  Wesley; 
for  the  anthems  of  Macfarren  and  Stewart  show  no  fur- 
ther development,  but  rather  a  reaction  in  the  direction  of 
simplicity. 

This  was  the  last  of  the  Choir  Union  services;  some 
unnecessarily  severe  criticisms  appeared  in  an  influential 
journal,  and  it  was  decided  by  the  Rector  that  it  would  be 
best  to  suspend  the  meetings  for  a  time. 

A  novelty,  in  Advent,  was  the  evening  Service  of 
Walmisley  in  D  minor,  which  is  laid  out  on  an  unusual 
plan ;  an  antiphonal  effect  is  sustained  by  alternating  bold 
unison  passages  for  tenor  and  bass  with  others  in  three- 
part  harmony  for  trebles  and  alto,  both  being  combined 
only  in  the  Glorias.  The  same  plan  is  found  in  Cobb's 
evening  Service  in  Eb,  but  in  a  more  simple  and  popular 
shape,  the  music  being  almost  entirely  in  unison.  Cobb's 
Service  is  a  great  favorite  and  we  have  sung  it  many 
times. 

The  Christmas  Day  service  is  recorded  as  good 
throughout;  the  music  was  familiar,  Schubert's  Mass  in 
F  and  anthems  by  Mozart  and  Gounod,  and  the  choir 
carried  it  through  with  a  steady  swing.  The  singing  in 
the  following  months  was  up  to  or  above  the  average. 
I  find  numerous  entries  in  my  book  testifying  to  the  good 
work  done  by  the  choir;  we  had  excellent  treble  solos  by 
Long  and  H.  Jaffray,  who  were  both  then  at  their  best, 
and  their  best  was  something  very  satisfying  to  the  ear. 
H.  Neesen  also  gave  some  good  treble  solos,  and  G.  L. 
Norris  contributed  bass  solos,  relieving  Mr.  Price  of  those 
which  called  for  use  of  the  lower  register. 

Easter  Day,  1889,  all  the  morning  music  was  new, 
and  the  afternoon  Canticles.    The  Mass  was  Haydn  No.  6, 


238  Trinity  Church,  New  York 

a  florid  and  difficult  composition  with  much  solo  work 
and  two  troublesome  fugues,  requiring  hard  preparatory 
study.  Our  labors  were  rewarded  by  a  fairly  good  serv- 
ice, the  anthems  and  parts  of  the  Mass  being  very  good. 
The  Introit  anthem  was  by  Tours,  the  Offertory  by  Dudley 
Buck,  "  As  it  began  to  dawn  " ;  an  effective  anthem,  be- 
ginning with  a  duet  for  treble  and  alto  in  Canon  form, 
continuing  with  a  descriptive  chorus,  tenor  solo,  and 
fugue  on  two  subjects.  The  afternoon  music  was  feeble 
and  solos  poor.  Service  was  Barnby  in  Efc>,  and  anthem 
from  the  "  Messiah " ;  the  choir  numbered  35  at  both 
services. 

On  the  first  Sunday  after  Easter  we  sang  the  "  Te 
Deum  "  from  the  "  Consecration  Service  "  of  Dr.  Hodges ; 
this  was  written  in  1846,  and  had  not  been  heard  for  over 
thirty  years.  The  opening  theme  is  treated  with  contra- 
puntal devices  at  various  points,  alternating  with  passages 
in  simple  harmony,  the  voices  moving  together;  an  in- 
tricate and  difficult  work,  which  must  have  seemed  a 
strange  language  to  the  congregation  of  1846,  and  which 
requires  study  for  its  thorough  appreciation. 

The  city  was  in  a  condition  of  excitement  at  this  time 
over  the  celebration  of  the  centennial  of  President  Wash- 
ington's inauguration.  The  celebration  extended  over 
several  days,  and  on  the  first,  Monday  April  29th,  Presi- 
dent Harrison  and  Cabinet  were  received  in  great  state 
and  with  a  large  military  display,  at  the  Equitable  Build- 
ing. To  make  the  ceremonies  more  impressive,  the  choir 
of  Trinity  Church  was  engaged  to  take  part.  Fifty-six 
men  and  boys  were  mustered  for  the  occasion,  36  from 
Trinity  Church  and  20  from  St.  Chrysostom.  Assembling 
at  the  school  house,  the  choir  proceeded  to  the  Equitable 
Building,   escorted  by  a   squad  of   police,   mounted  and 


Choir  and  Music  239 

foot,  necessary  on  account  of  the  crowds  in  the  streets. 
Having  put  on  their  vestments,  the  choir  was  placed  in 
a  compact  body  at  the  foot  of  the  stairs  in  the  large  hall ; 
and  as  soon  as  the  President  had  taken  his  place,  sang 
Hymn  307,  "  Before  the  Lord  we  bow,"  transposed  from 
C  to  Eb,  without  accompaniment.  This  was  followed  by 
the  Doxology,  to  the  old  100th  tune  in  Afc>,  accompanied 
by  the  small  band  from  David's  Island,  also  stationed  in 
the  hall,  many  of  the  great  assemblage  adding  their  voices. 
The  tune  was  taken  up  by  other  military  bands  outside 
and  by  the  chimes  of  Trinity  Church,  and  the  effect  was 
thrilling.  By  a  curious  coincidence  there  were  in  our 
choir  at  this  time  two  junior  boys  named  respectively 
George  Washington  Retz  and  Benjamin  Harrison  Old. 
The  latter  was  three  years  later  our  best  singer,  soloist, 
and  leader ;  one  of  those  boys,  so  welcome  to  a  choirmaster, 
who  have  the  faculty  of  seizing  at  once  not  only  the 
notes,  but  also  the  meaning  and  proper  interpretation  of 
what  they  have  to  sing.  Our  George  Washington  re- 
tired from  the  choir  early  without  leaving  any  farewell 
address. 

At  the  close  of  the  ceremonies  the  choir  was  treated 
to  a  capital  lunch,  men  and  boys,  by  the  liberality  of  a 
distinguished  gentleman  present,  Conrad  N.  Jordan,  Es- 
quire, who  had  become  infected  with  the  enthusiasm  pro- 
duced by  the  occasion.  Excitement  continued  throughout 
the  week  to  such  an  extent  that  on  SS.  Philip  and  James' 
Day  the  choir  was  excused  from  duty,  as  my  record  says, 
"  on  account  of  centennial  celebrations  and  general  con- 
fusion." 

As  this  was  an  historical  event  which  cannot  occur 
again  until  the  year  1989,  the  names  of  members  of  the 
choir  might  possibly  have  interest  for  some  chance  reader 


Choir  and  Music  241 

In  due  course  Ascension  Day  arrived  and  was  cele- 
brated in  the  usual  manner;  a  chorus  of  70  voices  was 
made  up  by  the  two  choirs,  and  the  orchestra,  directed 
by  Mr.  Dietrich,  included  20  string  and  16  wind  instru- 
ments. Mr.  Baier  was  at  the  large  organ  and  Mr.  Raboch 
at  the  chancel  organ.  Last  year's  Mass,  Schubert  in  Ab, 
was  repeated  and  the  singing  was  good  excepting  only 
the  processional,  "  Sound  the  loud  timbrel  "  (Schachner), 
where  there  was  some  unsteadiness.  The  Offertory  was 
an  interesting  novelty,  Liszt's  Psalm  13,  of  which  we 
sang  about  three-fourths.  Much  of  the  opening  move- 
ments was  omitted ;  there  was  more  of  it  than  we  wanted, 
and  these  movements  are  mournful  and  not  very  interest- 
ing. The  whole  work  displays  great  ingenuity  but  little 
originality  or  freshness ;  however  there  is  sufficient  charm 
in  some  parts  to  compensate  for  the  lack  of  that  quality 
in  the  remainder.  The  solo  part,  written  for  tenor  voice, 
was  divided  between  Mr.  Farr  and  H.  Long,  treble. 

The  Mass  sung  on  Whitsunday  was  the  composition 
of  one  of  our  old  choir  boys,  Henry  L.  Case,  and  showed 
decided  talent  with  a  reasonable  degree  of  originality. 
The  Creed  is  cleverly  treated  and  is  the  most  original 
part;  the  chief  defect  throughout  the  Mass  is  a  want  of 
contrapuntal  variety,  but  it  is  better  than  some  of  the 
popular  Masses  sung  nowadays.  The  Offertory  was 
Haydn's  motet,  "Let  God  arise"  (Insana?  et  vanae),  and 
in  the  afternoon  the  Liszt  Psalm  was  repeated.  On 
Trinity  Sunday  the  division  of  the  services,  discontinued 
in  1873  f°r  that  day,  was  tms  year  resumed.  Haydn's 
6th  Mass  was  repeated,  with  the  solo  and  chorus,  "  To 
Thee  Cherubim,"  from  Sullivan's  Te  Deum. 

Ten  new  Services  were  introduced  during  the  year; 
five  of  them  being  Magnificat,  etc. :  ten  anthems,  eight  of 


242  Trinity  Church,  New  York 

which  were  English  or  American;  for  the  last  two  years 
we  had  been  drawing  largely  upon  English  compositions. 
Treble,  alto,  and  tenor  departments  were  at  full  strength 
this  spring  and  summer,  but  there  were  only  four  basses, 
that  is  to  say,  no  volunteers ;  in  the  autumn,  Mr.  Bingham, 
a  well-known  connoisseur,  joined  us  and  gave  his  serv- 
ices for  a  year.  Mr.  Charles  K.  Coit  also  came  in  about 
the  same  time  and  gave  valuable  help  for  three  years.  A 
change  of  principal  tenor  was  again  made  on  the  ist  of 
May,  and  now  we  had  in  that  capacity  Mr.  G.  Allen,  a 
very  competent  professional  musician  with  a  fairly  good 
voice;  he  remained  for  two  years.  Really  competent 
tenors  with  good  voices  are  scarce  and  command  large 
salaries;  I  made  an  attempt,  some  years  earlier,  to  raise 
privately  a  fund  which  would  enable  me  to  secure  a  first- 
class  tenor  without  crippling  other  departments  of  the 
choir,  but  met  with  no  encouragement;  our  tenor  depart- 
ment had  never  been  quite  satisfactory. 


XLVIII 

1889-189 i 

The  next  event  calling  for  mention  was  the  adoption 
of  a  new  Psalter  with  double  chants  in  Advent,  1889. 
For  two  years  we  had  used  the  St.  Paul's  tune  book  with 
the  old  Psalter;  in  the  early  part  of  this  year  the  Rector 
and  Vestry  decided  to  issue  a  book  with  fresh  music,  and 
the  duty  of  preparing  it  was  assigned  to  me.  The  work 
was  done  during  the  summer  and  autumn;  in  December 
the  book  was  ready  and  was  at  once  adopted  in  our  serv- 
ices.   Advantage  was  taken  of  this  opportunity  to  modify 


Choir  and  Music  243 

the  old  pointing  in  a  few  instances,  in  the  direction  of  more 
correct  accentuation  of  the  words,  a  point  fiercely  insisted 
on  by  modern  critics.  To  meet  this  point,  the  old  rule 
in  chanting  "  one  syllable  to  one  note,"  formulated  by 
Archbishop  Cranmer  in  1550,  had  to  be  still  more  relaxed, 
for  in  the  old  book  it  was  by  no  means  strictly  observed. 
The  nearer  we  keep  to  this  rule,  so  much  easier  is  the 
chanting;  if  we  disregard  it,  in  order  to  make  the  verbal 
and  musical  accents  agree,  chanting  becomes  more  diffi- 
cult. 

A  thoroughly  satisfactory  pointed  Psalter  can  be  had 
in  one  way  only,  and  that  is  by  a  new  translation  of  the 
Psalms  made  expressly  to  fit  the  form  of  the  Anglican 
chant;  just  as  we  have  versions  of  the  Psalms  made 
expressly  for  metrical  psalmody.  Such  an  undertak- 
ing appears  to  me  quite  practicable,  especially  so  in 
this  country,  and  of  no  great  difficulty.  Now,  we  have 
to  fit  round  pegs  into  square  holes,  and  it  is  impossible 
to  make  two  persons  agree  on  the  method  to  be  followed ; 
discussion  and  argument  are  useless,  and  the  importance 
of  the  matter  is  unduly  magnified,  for  with  proper  care, 
smooth  and  intelligible  chanting  can  be  had  with  any 
book,  or  indeed  with  no  pointing  beyond  the  colon. 

Returning  to  my  record,  I  find  that  Christmas  Day 
was  remarkable  for  unusually  warm  weather;  this  pro- 
duced much  sickness  and  some  gaps  in  the  choir,  of 
which  only  28  members  were  present  to  sing  Guilmant's 
Mass  in  Eb  and  a  selection  from  Gade's  "  Holy  Night " ; 
among  the  disabled  was  Mr.  Price,  and  all  the  bass  solos 
were  efficiently  sung  by  Mr.  Steiner. 

In  Lent,  1890,  five  numbers  of  Haydn's  "  Seven  last 
words  "  were  sung  on  Sunday  afternoons ;  two  of  them 
well  done,  the  others  only  indifferent ;  one  afternoon  there 


244  Trinity  Church,  New  York 

was  no  anthem  on  account  of  the  absence  of  the  treble 
soloist. 

Easter  Day  the  music  was  well  sung;  Hummel's  Mass 
in  Bb  and  an  anthem  by  Ouseley  were  given  with  great 
spirit  throughout.  The  Mass  is  entirely  for  chorus,  and 
the  only  solos  were  in  the  Offertory,  treble  solo,  unaccom- 
panied quartet  and  double  chorus  from  Benedict's  oratorio 
"  St.  Peter."  The  solo  has  a  compass  of  two  octaves,  Eb 
to  Eb,  and  was  well  sung  by  Frank  Riker,  a  Vermont  boy 
who  had  come  to  us  in  the  previous  autumn,  and  had 
quickly  assumed  a  prominent  place.  His  voice  was  of 
unusual  compass,  strong,  and  of  fine  quality  in  the  upper 
register;  he  had  been  heard  in  solos  before,  but  this  was 
something  exceptional,  and  was  a  success.  The  quartet, 
sung  by  H.  Long,  Messrs.  Ward,  Allen,  and  Price,  was 
less  satisfactory,  and  the  chorus  failed  to  make  a  due 
effect,  though  there  were  no  bad  breaks.  The  choir  num- 
bered 33,  and  in  the  afternoon  sang  Calkin's  Service  in 
G,  part  of  a  Wesley  anthem,  and  the  "  Hallelujah."  The 
Benedict  selection  was  repeated  without  solo  the  next 
Sunday,  and  sung  with  much  improved  effect.  This  day 
the  Te  Deum  was  a  composition  of  Mr.  R.  H.  Warren, 
organist  of  St.  Bartholomew's  Church  and  conductor  of 
the  Church  Choral  Society. 

Ascension  Day  there  was  some  notable  new  music, 
which  was  well  sung  throughout,  as  regards  the  chorus 
work;  it  is  recorded  as  a  very  good  service,  with  one  or 
two  slips  in  the  solos.  The  two  choirs,  65  voices,  took 
part  as  usual.  The  Rector  was  absent  in  Europe,  and 
four  Bishops  officiated:  the  Bishop  of  Albany  as  celebrant 
and  the  Bishop  of  New  York  as  preacher.  The  orches- 
tra of  37  men,  directed  by  Mr.  Dietrich,  accompanied 
with  precision  and  effect.     The  anthem  was  an  adapta- 


Choir  and  Music  245 

tion  of  the  florid  Kyrie  in  Haydn's  Mass  No.  2,  solos  by 
Riker  and  Mr.  Ward;  the  Offertory,  Lachner's  100th 
Psalm,  the  solo  part  divided  between  Long,  Neesen,  and 
Mr.  Farr.  The  new  mass  was  Niedermeyer,  in  B  minor 
nominally,  but  that  key  is  used  only  for  the  Kyrie  which 
we  did  not  sing,  and  the  close  of  the  "  Dona  nobis  " ;  as 
we  sang  the  Mass,  it  began  and  ended  in  D  major,  a 
sufficiently  bright  key.  All  the  numbers  are  in  different 
keys,  and  the  character  of  the  music  is  much  varied;  the 
"  Et  incarnatus  "  is  a  double  Canon  a  capella,  21  bars 
Adagio;  there  are  two  fugues  in  the  Gloria,  one  at  the 
"  Laudamus  "  with  an  independent  accompaniment  also 
in  fugue  form,  another  of  a  more  commonplace  character 
at  the  end;  this  one  we  abbreviated.  There  are  also 
passages  of  lovely  melody  in  abundance :  the  "  Bene- 
dictus  "  may  be  noted  as  a  gem  of  melody  and  beautiful 
accompaniment.  The  second  section  of  this,  in  fugue 
form,  is  easily  cut  out,  leaving  the  most  attractive  part 
and  the  Coda,  which  fit  well  together  and  furnish  just 
about  the  right  quantity  for  our  purpose.  This  Mass  was 
composed  in  1849,  and  first  performed  in  that  year  at  the 
Church  of  S.  Eustache,  Paris. 

At  the  close  of  the  service  a  sonata  by  Guilmant  for 
organ  and  orchestra  was  played  with  good  effect,  Mr. 
Baier  taking  the  organ  part. 

On  the  19th  of  May  the  choir  officiated  at  laying  the 
foundation  stone  of  the  new  chapel  of  St.  Agnes.  Clergy 
and  choir  assembled  at  the  Methodist  Home  near  by,  and 
marched  in  procession  to  the  site  singing  "  The  Church's 
one  foundation,"  accompanied  by  a  quartet  of  brass  in- 
struments, two  cornets,  and  two  trombones.  The  music 
comprised  a  short  anthem,  "  O  how  amiable,"  by  Vaughan 
Richardson,  responses,  a  psalm  chanted,  a  hymn,  Gloria 


246  Trinity  Church,  New  York 

in  Excelsis  to  the  old  chant,  and  recessional  "  Now  thank 
we  all."  The  music  of  the  service  was  accompanied  on 
a  large  cabinet  organ,  both  processionals  by  the  brass 
quartet;  the  choir  numbered  31. 

Whitsunday  Gounod's  St.  Cecilia  Mass  was  sung  for 
the  twentieth  time:  the  anthems  were  "  Holy  Spirit,  come," 
by  Dr.  Martin,  and  the  final  solo  and  chorus  from  Handel's 
Samson,  "  Let  the  bright  Seraphim."  Trinity  Sunday 
Hummel's  1st  Mass  was  repeated,  with  familiar  anthems. 

The  amount  of  new  music  during  the  year  was  small, 
3  anthems  and  5  Services.  New  psalters  had  to  be  paid 
for  out  of  the  appropriation;  also  a  set  of  portfolios  for 
the  better  preservation  of  the  contents  of  our  constantly 
increasing  choir  library.  Few  changes  had  occurred  in  the 
choir :  a  new  tenor,  Mr.  A.  W.  Gay,  was  secured,  and  his 
strong  voice  and  musical  knowledge  made  him  a  valuable 
acquisition.  Near  relatives  of  Mr.  Gay  were  members  of 
Dr.  Hodges'  choir,  and  the  family  connection  with  the 
music  of  Trinity  Church  has  been  kept  up  by  his  uncle, 
Mr.  A.  G.  Wood,  now  the  senior  member  of  the  choir. 
We  lost  several  of  the  best  trebles  in  the  summer,  but 
four  good  leading  boys  remained,  and  recruits  were  always 
coming  in. 

In  the  autumn  of  1890  there  was  some  very  good  sing- 
ing and  new  music — Bennett's  morning  Service  in  Bp, 
Selby's  Communion  Service  in  A,  and  Barnby's  evening 
Service  in  E ;  all  modern  and  above  the  average  in  interest. 
Anthems  by  Gounod,  Goss,  Wesley,  Sullivan,  and  Stan- 
ford were  sung,  a  new  one  by  Stanford,  "  I  saw  another 
angel,"  proving  very  effective. 

In  Advent  the  music  was  simple,  except  for  the  after- 
noon anthems:  an  unfortunate  attempt  at  the  Benedictus 


Choir  and  Music  247 

of  Hummel's  2d  Mass  resulted  in  disaster,  as  on  a  pre- 
vious occasion  some  years  earlier ;  but  two  selections  from 
the  "  Messiah  "  and  Wise's  old  anthem  "  Awake,  awake  " 
on  the  other  Sundays  left  little  to  be  desired.  The  choir 
was  not  at  its  full  strength  in  trebles  or  basses,  the 
average  number  of  voices  being  28. 

Christmas  Day  there  was  a  good  service  sung  by 
32  voices,  consisting  of  Weber's  Eb  Mass,  selection  from 
Sullivan's  "  Light  of  the  world,"  with  a  new  and  clever 
anthem  by  Oliver  King,  "  While  all  things  were  in  quiet 
silence  " ;  in  the  last  part  of  this,  the  melody  of  "  Adeste 
fideles  "  is  combined  with  the  other  themes.  Solos  in  this 
service  were  sung  by  Riker,  Belling,  Goodridge,  and 
Counsellor,  trebles;  Mr.  Ward,  alto,  Messrs.  Farr  and 
Forster,  tenors;  Messrs.  Price  and  Norris,  basses.  On 
the  following  Sundays  the  trebles  were  weak,  winter  colds 
prevailing:  it  is  difficult  to  make  boys  take  proper  care 
of  themselves,  and  our  boys  have  to  come  from  a  distance, 
regardless  of  weather.  Septuagesima.  Sunday,  January  25, 
there  was  a  heavy  snowstorm ;  organist  and  several  of  the 
choir  were  late,  some  absent  altogether,  and  the  singing 
was  poor  all  day.  The  boys  continued  to  be  "  under  the 
weather  "  until  about  Easter,  when  there  was  improvement. 

In  the  spring  we  lost  our  promising  young  basso, 
Gouverneur  L.  Norris,  who  died  after  an  illness  of  sev- 
eral weeks,  to  the  great  regret  of  organist,  choir,  and 
many  friends.  Norris  came  into  the  choir  in  1882  as  a 
boy,  and  sang  treble  for  a  year;  his  voice  developed  very 
early  into  a  full  deep  bass,  with  which  he  rejoined  the 
choir  in  1885  and  was  soon  assigned  to  a  share  in  the  solo 
work;  his  interest  and  enthusiasm  in  our  music  were  great, 
and  the  loss  of  his  mellow  voice  and  amiable  personality 
was  felt  for  a  long  time. 


248  Trinity  Church,  New  York 

On  the  last  two  Sundays  in  Lent  Dvorak's  name  first 
appeared  on  our  list,  represented  by  one  number  from  his 
"  Stabat  Mater."  Easter  Day  there  was  a  good  service, 
the  music  comprising  Hummel's  Mass  in  Efc>,  and  anthems 
by  Hiller  and  Goss;  the  choir  numbered  32  and  was  in 
good  form.  A  new  evening  Service,  Bennett  in  Bo,  and 
selections  from  the  "  Messiah  "  made  up  the  afternoon 
programme.  The  following  Sundays  a  Te  Deum  by 
Dudley  Buck  was  sung,  a  fine  but  rather  exacting  com- 
position: the  stately  opening  is  founded  on  the  8th  Gre- 
gorian Tone,  the  succeeding  movements  are  intricate,  and 
depend  for  their  effect  upon  good  solo  singing.  We  got 
through  it  creditably,  but  not  brilliantly. 

Ascension  Day  the  Niedermeyer  Mass  of  last  year 
was  repeated,  with  anthems  by  Liszt  and  Schubert.  A 
new  processional  march,  from  Mackenzie's  "  Rose  of 
Sharon  "  was  ineffective  and  unsatisfactory.  The  entire 
scene  in  the  "  dramatic  oratorio  "  is  striking  and  beauti- 
ful, representing  the  successive  passing  in  procession  of 
maidens,  elders,  shepherds,  soldiers,  priests,  and  people 
with  the  Ark,  each  having  an  appropriate  song;  the  por- 
tions we  used  were  the  choruses  of  soldiers  and  of  people. 
The  orchestra,  numbering  34,  was  directed  by  Mr.  Baier; 
Mr.  Le  Jeune  was  at  the  large  organ,  Mr.  Raboch  at  the 
chancel  organ,  the  two  choirs  making  about  70  voices. 
The  finest  effect  of  the  service  was  made  in  the  Offertory 
"  Great  is  Jehovah,"  Schubert's  "  Allmacht,"  previously 
mentioned;  the  tenor  solo  of  this  was  finely  sung  by  Mr. 
John  Fulton,  formerly  of  St.  Chrysostom  choir,  who  on 
this  as  well  as  previous  anniversaries  joined  his  old  choir. 

This  was  the  48th  in  the  series  of  orchestral  services, 
the  first  of  which  was  on  Ascension  Day,  1870.  On  that 
occasion  there   was  no  elaborate  processional  march,   a 


Choir  and  Music  249 

simple  "  Agnus  "  with  organ  accompaniment  was  sung, 
the  choir  numbered  29  and  orchestra  28.  In  1871  the 
"Agnus"  was  accompanied  by  orchestra;  1876  the  or- 
chestral and  choral  processional  was  adopted;  in  1877  the 
number  of  orchestral  services  annually  was  reduced  from 
five  to  one;  in  1882  the  St.  Chrysostom  choir  first  took 
part,  increasing  the  choral  force  to  78  voices,  and  since 
then  the  only  change  in  the  plan  of  service  was  the  addi- 
tion of  the  "  Benedictus  qui  venit "  in  1889.  Fourteen 
Masses  had  been  sung  with  orchestral  accompaniment; 
fifty  anthems,  most  of  them  large  and  important  works; 
and  Sullivan's  Te  Deum. 

The  music  of  the  regular  services  to  the  end  of  this 
season  calls  for  no  special  mention.  The  grand  service 
on  St.  Barnabas'  Day  was  described  in  the  Year  Book 
of  the  Parish  for  1892;  and  the  account  given  there  is 
inserted,  by  permission,  farther  on. 

The  regular  choir  did  not  appear  to  the  best  advantage 
on  that  day;  their  efTorts  seemed  puny  compared  with  the 
work  of  the  no  veterans  who  made  up  the  special  choir. 
We  were  also  weakened  by  the  departure  of  the  solo 
treble  and  principal  bass  a  short  time  before.  The  choir 
consisted  of  15  trebles,  4  adult  altos,  4  tenors,  and  6 
basses;  the  trebles  were  led  by  Charles  Belling,  then  in 
his  eighth  year  of  choir  service  and  beginning  his  fourth 
year  as  leader;  with  John  Goodridge  at  the  head  of  the 
Cantoris  side,  and  Benjamin  Harrison  Old  solo  treble. 
In  the  ranks  of  the  boys  were  four  of  the  second  genera- 
tion, Charles  Forster,  George  O'Reilly,  Eugene  and 
Harold  Knapp,  whose  fathers  were  choir  boys  with  me  in 
1866-67.  The  only  boy  alto,  Lee  M.  Bingham,  was  ab- 
sent on  account  of  sickness,  but  that  department  had  been 
strengthened  by  the  return  of  Mr.  Malin,  after  an  absence 


250  Trinity  Church,  New  York 

of  three  years.  Of  the  six  basses,  three  were  "  old  boys  "; 
and  it  is  a  curious  fact  that  one  of  them  was  younger 
than  the  leading  treble;  a  remarkable  instance  of  the 
vagaries  of  the  human  larynx. 

During  the  year  1890-91  seven  new  Services  were 
sung;  and  eight  new  anthems,  six  of  them  English. 

The  repertoire  of  the  choir  at  this  period  consisted  of 

60  Communion  Services. 
48  Morning  Services. 
52  Evening  Services. 

29  Magnificat. 

23  Cantate  or  Bonum. 
(Exclusive  of  plainsong  music) 
About  365  Anthems. 

The  choir  library,  representing  the  accumulations  of 
25  years,  contained,  in  addition  to  copies  of  music  enu- 
merated above,  45  full  (orchestral)  scores,  74  sets  of 
orchestra  parts,  10  folio  volumes  of  Services,  anthems, 
etc.,  and  other  miscellaneous  matter. 


XLIX 

ST.    BARNABAS'    DAY,    1 89 1 

From  the  Year  Book  of  Trinity  Parish 

On  the  nth  of  June  Dr.  Arthur  Henry  Messiter  com- 
pleted his  twenty-fifth  year  as  organist  and  choirmaster 
of  Trinity  Church.  It  was  eminently  fitting  that  an  in- 
cumbency of  such  uncommon  length  in  this  country — 
covering  a  quarter  of  a  century  of  faithful  and  conscien- 
tious service — should  be  recognized. 

St.  Barnabas'  Day  falling  on  the  date  of  the  anniver- 


Choir  and  Music  251 

sary  afforded  an  opportunity  for  an  appropriate  celebra- 
tion of  the  event.  With  the  consent  of  the  Rector  the 
customary  church  service  on  that  occasion  was  expanded 
into  a  musical  festival,  for  which  a  special  choral  service 
had  been  arranged. 

The  choir  on  this  occasion  numbered  1 10  male  voices, 
of  whom  28  were  first  tenors,  30  second  tenors,  25  first 
basses,  and  27  second  basses.  Supplementing  these  were 
the  16  boy  choristers  of  the  Church,  making  in  all  a  body 
of  126  singers.  The  composition  of  this  superb  male 
chorus  was  significant,  its  membership  being  made  up  en- 
tirely of  those  who  had  sung  in  Trinity  choir  regularly, 
at  some  period  of  the  twenty-five  years  preceding,  either 
as  choir  boys  or  as  choir  men.  ...  It  embraced  a  large 
number  of  singers  whose  names  have  become  famous  in 
the  musical  world,  represented  by  such  well-known  artists 
as  Mr.  Franz  Remmertz  and  Mr.  Theodore  J.  Toedt. 

In  the  getting  together  of  this  choir  a  great  deal  of 
labor  had  been  accomplished  by  the  committee  of  the 
active  choir  of  the  church  by  whom  the  anniversary  was 
projected  and  carried  to  a  successful  conclusion.  Rehear- 
sals were  held  for  several  weeks  previous  to  the  service 
in  the  Sunday-school  room  of  Trinity  Church  House, 
which  were  conducted  by  Mr.  Victor  Baier,  assistant  or- 
ganist of  Trinity  Church,  with  the  assistance  of  Mr.  John 
M.  Knapp,  a  choir  boy  and  organ  pupil  of  Dr.  Messiter, 
as  accompanist.  Mr.  Baier  also  conducted  the  Service  on 
St.  Barnabas'  Day. 

A  musical  event  at  once  so  unique  and  of  so  command- 
ing importance  naturally  awakened  wide  interest,  and  the 
pressure  for  places  became  so  great  that  tickets  to  the 
church  were  issued. 

The  service  itself  will  long  be  remembered  as  one  of 


252  Trinity  Church,  New  York 

the  most  impressive  and  effective,  in  many  respects,  known 
in  the  history  of  Trinity  Church.  It  was  a  new  experience, 
the  giving  of  an  entire  Mass  with  male  voices  alone,  and 
on  so  extended  a  scale  and  under  conditions  such  as  those 
surrounding  this  occasion — conditions  impossible  to  any 
other  church  or  communion  in  the  country. 

The  processional  hymn,  the  music  for  which  was  com- 
posed by  Dr.  Messiter,  was  taken  from  the  proposed  new 
Hymnal,  and  was  given  out  by  the  "  old  boys  "  of  Trin- 
ity— as  the  gentlemen  took  evident  pride  in  styling  them- 
selves— with  a  whole-souled  vigor  of  the  most  exhilarat- 
ing nature.    It  was  as  follows: 

"Sing,  ye  faithful!  sing  with  gladness! 
Wake  your  noblest,  sweetest  strain ! 
With  the  praises  of  your  Saviour 
Let  His  house  resound  again! 
Him  let  all  your  music  honor, 
And  your  songs  exalt  His  reign!" 

The  procession  was  thus  constituted: 

The  Sexton  of  Trinity  Church,  Thomas  P.  Browne, 

bearing  his  mace  of  office,  followed  by  the 

other  Sextons  of  Trinity  Parish. 

The  special  choir  of  men,  escorting  the  regular  choir 
of  boys  and  men  of  the  church. 

Dr.  Messiter,  wearing  the  "hood"  of  his  degree  as 
Doctor  of  Music,  the  gift  of  the  choir,  and  with 
which  he  had  been  invested  by  the  Rector, 
previous  to  the  formation  of  the  pro- 
cession, in  the  robing  rooms. 

Acolytes. 

The  Clergy  of  Trinity  Parish. 

The  Rector. 


Choir  and  Music  253 

In  order  to  accommodate  the  enlarged  body  of  singers 
the  chancel  had  been  extended  by  the  erection  of  a  plat- 
form, upon  which  the  male  chorus  took  their  places,  the 
regular  choir  and  the  clergy  passing  through  and  occu- 
pying the  stalls  in  chancel  and  sanctuary. 

In  the  service  which  followed,  the  Rector  was  the  cele- 
brant, the  Rev.  Dr.  Mulcahey  the  Gospeller,  and  the  Rev. 
Mr.  Steele  the  Epistoler. 

The  musical  service  chiefly  consisted  of  the  "  Messe 
des  Orpheonistes,"  of  M.  Charles  Gounod,  arranged  as  a 
Communion  service  by  Joseph  Barnby,  which  was  given 
entire,  with  the  exception  of  a  single  number,  the  "  O 
Salutaris."  This  composition,  written  for  the  Orpheon 
Societies  of  Paris,  of  which  Gounod  was  the  musical  di- 
rector, was  first  given  to  the  world  about  1855.  It  is  one 
of  the  most  dignified  of  Gounod's  early  Masses.  It  has 
but  a  slight  accompaniment,  and  probably  for  organ  only. 
In  character  it  is  thoroughly  ecclesiastical,  and  it  abounds 
in  beautiful  passages  and  striking  effects. 

The  "  Kyrie  Eleison  "  was  employed  as  the  customary 
anthem  or  Introit,  and  served  to  disclose  the  grandeur  of 
the  volume  of  tone  and  the  precision  of  attack,  accuracy 
of  phrasing,  and  intelligent  appreciation  of  the  demands 
of  light  and  shade  on  the  part  of  the  great  body  of  sing- 
ers who  responded  to  Mr.  Baier's  baton.  Mr.  Wenzel  A. 
Raboch,  of  St.  Chrysostom's  Chapel,  and  Dr.  Messiter 
alternated  at  the  chancel  organ  during  the  service,  and 
Mr.  Charles  Baier  was  at  the  great  organ. 

The  "  Credo,"  "  Sanctus,"  and  "  Gloria  in  Excelsis  " 
were  singly  and  collectively  admirable  examples  of 
male-voice  part  singing,  but  it  was  left  to  the  "  Agnus 
Dei "  to  disclose  the  full  extent  of  the  ability  of  the 
chorus  in  the  production  of  delicate  nuances.    This  num- 


254  Trinity  Church,  New  York 

ber  was  sung  without  accompaniment,  and  exquisitely 
voiced. 

To  the  regular  choir  was  assigned  the  "  Kyrie  "  in 
response  to  the  Commandments,  composed  by  Dr.  Mes- 
siter,  and  one  of  the  most  tender  and  touching  bits  of 
writing  in  the  whole  range  of  penitential  music ;  the  Offer- 
tory anthem,  Spohr's  beautiful  setting  of  the  84th  Psalm, 
"  How  Lovely  Are  Thy  Dwellings  Fair,"  and  the  "  Bene- 
dictus,"  which  was  taken  from  the  "  Messe  Solennelle  "  of 
Gounod. 

The  stately  and  magnificent  choral,  "  Now  Thank  We 
All  Our  God,"  constituted  the  recessional.  This  produced 
a  fine  effect,  two  lines  being  given  out  by  the  organs  in 
unison,  and  the  hymn  sung  by  all  the  voices  in  unison. 

At  the  opening  and  at  the  close  of  the  service  Mr.  E. 
M.  Bowman,  assistant  organist  at  Trinity  Church  in 
1867-68,  played  on  the  great  organ  the  March  in  D  of 
Henry  Smart,  and  the  Toccata  and  Fugue  (Doric)  of  John 
Sebastian  Bach. 

In  the  evening  the  social  side  of  the  anniversary  was 
celebrated,  Dr.  Messiter  being  "  banqueted  "  at  Mazetti's. 
This  proved  a  most  enjoyable  occasion.  The  choir  and 
clergy  were  well  represented,  and  there  was  much  good 
speaking  and  more  good  singing.  For  "  Our  Alma  Mater, 
Dear  Old  Trinity,"  Major  Morris  B.  Farr  spoke;  the 
Rector  responded  to  "  Our  Guest :  the  Musician,  Master 
and  Man,  Whom  All  Delight  to  Honor,"  and  presented 
Dr.  Messiter  with  a  silver  service  on  behalf  of  the  singers 
who  had  taken  part  in  the  Service,  to  which  Dr.  Messiter 
replied  with  customary  modesty;  there  was  a  "silent" 
toast  to  "  Our  Associates — the  Absent  and  Those  Who 
Have  '  Gone  Before  '  " ;  in  the  place  of  Dr.  Walter  B.  Gil- 
bert, Mr,  Raboch  spoke  for  "  The  Organists  of  Trinity 


Choir  and  Music  255 

Parish:  Tenacious  in  Training,  Their  Musical  Children 
Rise  Up  and  Call  Them  Blessed  " ;  "  The  Music  of  the 
Church,  as  Exemplified  in  Trinity  Choir:  Its  Influence 
and  Example,"  was  talked  of  entertainingly  and  instruct- 
ively by  Rev.  Mr.  Steele;  the  Rev.  Thomas  H.  Sill  re- 
sponded for  "  Trinity  Parish  and  Church :  Its  Clergy, 
Wardens,  and  Vestry  " ;  for  "  Our  Clerical  Graduates : 
from  Choir-stall  to  Sanctuary  and  Pulpit,"  the  Rev.  Ed- 
ward M.  Pecke  spoke;  Mr.  Victor  Baier  gave  some  per- 
sonal experiences  of  the  benefit  of  Dr.  Messiter's  instruc- 
tion in  replying  to  "  The  Evolution  of  the  Musician :  from 
Choir-boy  to  Organist " ;  Sexton  Browne  responded  for 
"  A  Most  Important  Functionary,  Without  Whom  the 
Church  Would  Indeed  Be  at  a  Loss,"  and  Mr.  Toedt  spoke 
for  "  The  Old  Boys :  They  Have  Made  the  Fame  of  '  Old 
Trinity '  Worldwide." 

The  idea  of  this  commemoration  originated  with  Mr. 
Baier,  the  assistant  organist ;  it  received  very  gracious  and 
cordial  support  from  the  Rector,  and  was  taken  up  with 
much  heartiness  by  present  and  former  members  of  the 
choir.  To  carry  out  the  arrangements  a  committee  was 
formed,  consisting  of  Mr.  Baier,  chairman;  Mr.  Forster, 
secretary;  Mr.  Steiner,  treasurer;  Messrs.  A.  G.  Wood, 
H.  E.  Malin,  and  Thomas  P.  Browne;  each  of  whom  un- 
dertook with  good  will  a  share  in  the  necessary  work. 
The  expenses  were  defrayed  by  a  subscription  raised 
among  the  congregation.  The  labor  of  corresponding 
with  old  members  of  the  choir,  foreign  organists  and 
others,  was  very  great  and  fell  upon  the  secretary,  Mr. 
Forster.  In  reply  to  notifications  of  the  event,  letters  of 
a  congratulatory  nature  were  received  from  eminent  for- 
eign musicians,  including  M.  Gounod,  Dr.  E.  J.  Hopkins, 


256  Trinity  Church,  New  York 

Sir  Joseph  Barnby,  Dr.  Villiers  Stanford,  Dr.  Garrett, 
Dr.  Martin,  H.  Gadsby,  B.  Luard  Selby,  and  others ;  some 
of  these  were  read  at  the  banquet  in  the  evening.  Very 
kind  and  complimentary  letters  were  also  received  from 
Dr.  G.  W.  Warren,  Mr.  A.  S.  Baker,  Rev.  Dr.  Arthur 
C.  Kimber,  Rev.  T.  W.  Punnett,  Rev.  W.  C.  Hubbard, 
John  F.  Mines  (Felix  Oldboy),  A.  A.  Hayes,  and  F.  Kep- 
pel,  accompanied  in  some  cases  by  handsome  gifts. 

The  grand  musical  service  was  an  event  to  be  remem- 
bered with  pleasure  by  all  who  took  part;  to  the  writer 
of  this,  so  highly  honored  after  twenty-five  years'  service 
as  organist  and  choirmaster,  the  entire  celebration,  kindly 
conceived,  generously  supported,  and  ably  carried  out, 
was  a  most  agreeable  testimony  of  friendly  regard  and 
musical  appreciation.  He  here  puts  on  record  his  grati- 
tude to  the  faithful  friends,  colleagues  and  pupils  who 
united  in  conferring  the  honor.  Especially  is  it  due  to 
the  Rector,  the  Rev.  Morgan  Dix,  not  only  for  his  en- 
dorsement of  this  celebration,  but  for  the  kind  considera- 
tion and  cordial  encouragement  extended  to  the  writer 
for  a  quarter  of  a  century ;  on  the  part  of  the  chief  author- 
ity of  the  Parish  everything  has  been  done  to  make  the 
way  smooth  for  the  organist,  and  great  indulgence  has 
been  shown  to  shortcomings.  Members  of  the  choir  have 
been  faithful  and  earnest  in  their  share  of  the  work,  and 
there  has  been  as  little  friction  or  disagreement  as  could 
reasonably  be  expected. 

The  preceding  pages  show  that  these  favorable  con- 
ditions have  enabled  us  to  bring  into  the  service  of  the 
Church  a  large  number  of  valuable  and  interesting  musical 
works;  and  that  these  have  in  most  cases  been  sung  in  a 
manner  worthy  of  the  reputation  of  this  historical  Parish. 


Choir  and  Music  257 


1891-1892 

After  the  great  service  of  St.  Barnabas'  Day  the  choir 
settled  down  to  the  usual  routine  of  familiar  and  short 
Services  and  anthems  for  the  summer.  During  July  and 
August  there  is  only  about  half  of  the  choir  on  duty, 
sometimes  even  less.  We  lost  this  summer  our  brilliant 
treble  soloist,  Frank  Riker,  but  still  there  were  others, 
capable  and  efficient  boys,  such  as  Old,  Simpson,  Glanz- 
mann,  with  E.  and  H.  Knapp,  all  competent  for  solos. 

Full  work  was  resumed  early  in  September,  but  there 
was  little  of  special  interest  before  Christmas:  Boyce's 
"  O  where  shall  wisdom,"  and  on  All  Saints'  Day  a  new 
anthem  by  Oliver  King,  "  And  the  wall  of  the  city,"  from 
Revelation  21;  also  in  November  a  Communion  Service 
by  S.  J.  Gilbert,  son  of  Dr.  Gilbert  of  Trinity  Chapel. 
On  Thanksgiving  Day  an  anthem  by  Cornell,  composed 
for  the  Centennial  celebration  of  1876. 

A  feature  of  the  year's  music  was  the  revival  of  Dr. 
Cutler's  anthems,  of  which  six  were  sung  between  Advent 
and  Easter,  beginning  with  the  Advent  anthem  "  The 
night  is  far  spent."  Dr.  Cutler's  music  is  well  written, 
agreeable  to  sing,  and,  in  style,  recalls  old  Dr.  Boyce — a 
good  model — and  the  best  Cathedral  composers.  On  Ad- 
vent Sunday  we  had  also  "  Wondrous  sound  the  trumpet 
flingeth  "  from  Dvorak's  Requiem. 

Christmas  Day,  the  Mass  was  Gounod's  "  3™  Solen- 
nelle,"  not  one  of  his  greatest,  but  still  good  and  replete 
with  Gounod  effects.  The  Offertory  was  by  Gilchrist,  of 
Philadelphia,  "  Christians  awake."  The  Epiphany  season 
produced  Morning  Services  by  Hodges  (the  New  York 


258  Trinity  Church,  New  York 

Service)  and  Tuckerman;  two  of  Dr.  Cutler's  anthems, 
two  selections  from  Gade's  cantatas,  and  a  long  anthem 
by  Walmisley  (1814-1856),  "If  the  Lord  Himself  had 
not  been  on  our  side." 

In  Lent  there  was,  as  usual,  a  large  infusion  of 
Gregorian  music.  Benedicite  was  used,  and  a  Hymn  in 
place  of  Gloria  in  Excelsis.  Purcell's  (1658-1695)  Bene- 
dicite was  sung  three  times,  after  which  we  dropped  into 
Gregorian.  Purcell's  music  abounds  in  risks  and  traps 
for  the  unwary,  and  is  not  easy  for  those  "  not  to  the 
manner  born  " — or  trained.  In  his  setting  the  length  of 
the  Canticle  is  slightly  reduced  by  using  the  refrain  once 
only  for  a  group  of  four  or  six  verses.  Of  the  larger 
anthems,  two  were  of  the  old  school,  "  Hear  my  prayer," 
Kent  (1700-1776),  and  "  Hear,  O  thou  shepherd,"  Clarke 
Whitfeld  (1770-1836) — two  by  Mendelssohn,  "He  shall 
give  his  angels,"  double  quartet,  and  "  I  waited  for  the 
Lord  " — and  bass  solo  with  chorus  from  "  The  Woman  of 
Samaria,"  by  Sterndale  Bennett. 

Easter  Day  the  Mass  was  composite — Credo,  Sanctus, 
and  Benedictus  from  Schubert  in  F — Agnus  and  Gloria 
from  Liszt's  Coronation  Mass :  the  former  had  been  used 
before,  but  the  Liszt  music  was  new,  and  it  must  be  con- 
fessed, not  very  interesting;  exceedingly  ingenious  but 
without  inspiration;  it  was  never  repeated.  The  Offer- 
tory consisted  of  four  numbers  from  Barnby's  Psalm  97. 
In  the  afternoon  we  had  Smart's  Service  in  Bb,  a  very 
fine  one,  and  the  usual  selection  from  "  The  Messiah." 
On  the  following  Sundays  Gounod's  Te  Deum  was  sung 
once  and  then  replaced  by  Mendelssohn's. 

The  Ascension  Day  service,  with  orchestra  and  in- 
creased choir  as  usual,  began  with  the  old  favorite,  "  O 
Zion,  blest  city,"  followed  by  the  anthem  "  O  come,  let 


Choir  and  Music  259 

us  sing,"  from  Handel's  Chandos  Anthems.  The  Mass 
was  again  composite,  but  all  Schubert — Sanctus  and 
Benedictus  from  the  Mass  in  F,  Credo,  Agnus,  Gloria 
from  that  in  Eb — the  latter  were  new.  This  is  one  of  Schu- 
bert's latest  and  most  elaborate  compositions,  the  move- 
ments are  long  and  difficult,  and  had  to  be  cut  a  good 
deal:  we  were  not  afraid  of  the  difficulties,  but  the  time 
occupied  in  the  service  had  to  be  considered.  The  Offer- 
tory was  from  Mendelssohn's  Athalie,  the  first  three  num- 
bers, first  sung  several  years  before.  On  the  Sunday, 
"  Great  is  Jehovah,"  Schubert,  an  adaptation  from  the 
song  "  Die  Allmacht,"  and  one  of  our  most  effective  pieces. 
Whitsunday  the  Mass  was  Gounod's  St.  Cecilia,  the 
Offertory,  "Let  God  arise,"  Haydn  (Insanae  et  vanae). 
Trinity  Sunday  Schubert's  Mass  in  F,  with  Offertory 
'  To  Thee  all  angels,"  from  Handel's  Dettingen  Te  Deum ; 
in  the  afternoon  a  new  and  fine  anthem  by  Lloyd — "  Give 
the  Lord  the  honor  due."  After  this  Sunday  we  gradually 
subsided  into  the  summer  plan  of  short  and  familiar 
compositions. 

Summary  0}  Music  used,  1891-92. 

6  Masses. — Mozart,  Schubert  2,  Gounod  2,  Liszt. 
19  Communion  Services. — Rogers,  Hiles,  Monk,  Garrett,  Barnby, 

Tours  2,  Stainer,  Calkin  2,  Reay,  Stanford,  Selby,  Haynes, 

King-Hall,  Field,  Cobb,  Agutter,  S.  J.  Gilbert. 
18  Morning  Services. — Mendelssohn,  Gounod,  Purcell,  Travers, 

Boyce  2,  King,  Hopkins,  Smart  2,  Tours,  Garrett,  Reay, 

Stanford,  Bennett,  Cobb,  Hodges,  Tuckerman. 
16  Evening  Services. — Travers,   King,   Arnold,   Whitfeld,   Smart, 

Garrett,  Steggall,  Best,  Martin,  Selby,  Roberts,  Cobb,  Bunnett, 

White,  Florio,  Messiter. 
Anthems. 
23  German. — Handel  7,    Haydn,    Mozart,    Schubert    2,    Spohr    5, 

Mendelssohn  7. 


260  Trinity  Church,  New  York 

io  French,  &c. — Gounod  5,  Gade  2,  Dvorak  2,  Marcello. 

14  Early  English. — Tye  2,  Weldon,   Boyce,  Richardson,  Kent, 
Whitfeld  3,  Attwood  3,  Walmisley  2. 

55  Modern  English. — Wesley,  Hopkins,  Elvey  2,  Macfarren  8, 
Best  2,  Goss  3,  Ouseley  2,  Garrett  2,  Barnby  4,  Tours,  Hiles 
2,  Smart  2,  Steggall,  Martin,  Gadsby,  Calkin,  Reay  2,  Stainer 
5,  Sterndale-Bennett  3,  Sullivan  2,  Stanford,  Armes,  Lloyd, 
Thorne,  O.  King  2,  H.  King,  Woodward,  Smith. 
8  American. — Cutler  6,  Cornell,  Gilchrist. 

Total. — 59  Sendees  and  no  Anthems. 

There  were  not  many  changes  in  the  choir  during  this 
period:  two  new  boys  appear,  Richard  G.  Simpson,  who 
did  good  solo  work,  and  G.  F.  de  Zeller;  the  junior  de- 
partment was  well  supplied. 


LI 

1 892-1 893 

The  first  notable  event  of  this  year  was  a  special 
service  in  commemoration  of  the  discovery  of  America 
by  Christopher  Columbus,  held  on  Sunday,  October  9th. 
On  this  occasion  Morning  Prayer  was  said  at  9.30  with- 
out music;  High  Celebration  at  10.30;  the  music  of  the 
day  was  as  follows : 

At  10.30. 
Processional.—"  Sound  the  loud  timbrel "  .       .       .       Schachner 

Introit.— "  O  give  thanks  " Cowen 

Communion  Service,  ln  F Schubert 

Offertory. — "  We  thy  people " Ccnten 

Recessional  Hymn  307. 


Choir  and  Music  261 

At  3.30. 
Processional  Hymn  308. 
Psalms  148,  149,  150. 
Magnificat  and  Nunc  Dimittis,  in  Eb       .       .       .       .        Cobb 

Anthem. — "  O  give  thanks  " Cowen 

Te  Deum Garrett 

Recessional  Hymn  307. 

Covven's  large  composition  supplied  the  anthems  for 
both  services :  it  is  in  three  movements,  two  of  which  were 
used  in  the  morning,  as  Introit  and  Offertory;  the  entire 
work  being  sung  in  the  afternoon.  The  Te  Deum  is  of 
the  ordinary  dimensions :  the  hymns  being  "  For  Travel- 
lers by  Sea  or  Land." 

On  the  23d  appears  a  new  anthem  by  the  Rev.  J.  S.  B. 
Hodges,  "  We  wait  for  Thy  loving  kindness,"  and,  during 
the  month,  revivals  of  Hummel,  "  I  will  exalt  thee," 
Graduale  of  a  Mass,  and  Dr.  E.  Hodges,  "  I  was  glad." 
All  Saints'  Day  the  music  was  all  familiar  and  included 
Ouseley's  Trio  for  trebles  and  alto,  "  In  the  sight  of  the 
unwise,"  from  his  oratorio  St.  Polycarp.  Later  in  the 
month  we  had  a  new  Communion  Service  by  Battison 
Haynes,  "  O  where  shall  wisdom,"  Boyce,  and  a  selection 
from  Spohr's  Cantata,  "  God,  Thou  art  great."  Thanks- 
giving Day,  Haydn  No.  7,  a  short  Mass,  and  parts  of 
Cowen's  anthem.  Passing  to  Christmas  Day,  which  fell 
on  a  Sunday,  I  find  Guilmant's  Mass,  Gounod's  Noel,  for 
boys'  voices,  selection  from  "  The  Messiah  "  in  the  after- 
noon, with  a  new  Service  by  Prof.  Horatio  Parker. 

With  the  new  year  1893  began  the  arrangement  of 
services  on  the  first  Sunday  of  the  month  which  has  been 
continued  from  that  time — Morning  Prayer  without  music 
at  9.30  and  High  Celebration  at  10.30.    On  this  first  Sun- 


262  Trinity  Church,  New  York 

day  the  Christmas  music  was  repeated,  except  the  Even- 
ing Canticles,  changed  in  order  to  conform  with  the 
custom  of  singing  the  Magnificat  ceremonially  at  close 
of  the  service.  Epiphany  season  shows  a  new  Communion 
Service  by  Prof.  Parker;  Sexagesima  Sunday,  February 
5th,  Mozart's  Mass  No.  I,  with  "  Send  out  Thy  light," 
Gounod.  That  familiar  composition  has  always  seemed 
to  me  rather  peremptory  in  its  mode  of  address  to  the 
Almighty,  but  how  popular  it  has  always  been! 

In  Lent  processionals  were  omitted  until  The  Annun- 
ciation and  Palm  Sunday.  Important  anthems  were: 
"  Judge  me,  O  God,"  double  chorus,  Mendelssohn ;  "  Hear 
my  prayer,"  Kent;  "By  the  waters,"  Boyce;  3d  Motet, 
Mozart ;  "  Into  Thy  hands,"  Haydn. 

Easter  Day  we  had  Hummel's  Mass  in  D,  No.  3,  for 
the  first  time:  it  has  no  solos,  but  the  choral  writing  is 
interesting  and  melodious ;  the  Introit  was  also  new,  "  Be- 
hold the  angel  of  the  Lord,"  Tours,  treble  solo  and  chorus ; 
the  Offertory,  "  Blessed  be  the  God  and  Father,"  Wesley, 
not  new.  The  afternoon  music,  Calkin  in  G,  and  selec- 
tion from  "  The  Messiah,"  closing  with  the  "  Hallelujah  " 
chorus;  the  entire  day's  music  was  repeated  on  the  next 
Sunday.  The  Easter  season  shows  a  new  morning  Serv- 
ice, Selby  in  A;  Gounod's  "Sacred  Heart"  Mass,  and 
Stainer's  "  Love  divine,"  duet  and  chorus. 

On  Ascension  Day,  with  orchestra  and  enlarged  choir, 
Haydn's  Mass  No.  3  (Imperial)  was  sung:  the  Kyrie 
being  used  as  Introit,  the  brilliant  and  exacting  solo 
capitally  sung  by  Harry  S.  Carland.  Processional  was 
"  Sound  the  loud  timbrel,"  Schachner,  the  Offertory 
Spohr's  Psalm  24,  'The  earth  is  the  Lord's,"  chorus 
throughout.  This  was  the  fiftieth  orchestral  service ;  none 
of  the  music  was  new. 


Choir  and  Music  263 

Whitsunday  the  Introit  was  by  a  composer  unknown 
to  fame,  bearing  the  celebrated  name  of  Smith;  it  is  not 
a  great  composition,  but  is  effective  in  a  way,  and  the 
appropriate  words  "  And  when  the  Day  of  Pentecost  " 
made  it  worth  using.  A  new  French  Mass  by  Cristiani, 
sung  this  day,  belongs  to  the  same  class:  far  removed 
from  greatness,  but  having  some  good  and  telling  points; 
it  has  no  Credo,  and  for  this  we  used  Silas'  much  stronger 
music. 

Trinity  Sunday  Haydn  No.  3  was  repeated,  with  two 
selections  from  Spohr's  "  Last  Judgment  " ;  in  the  after- 
noon, Selby  in  F,  and  the  Kyrie  of  Haydn  as  anthem. 

August  of  this  year  has  to  be  noticed,  chiefly  for  the 
introduction  of  the  new  Hymnal  authorized  by  the  last 
General  Convention.  The  earliest  published  version  with 
music  was  edited  by  me,  and  was  modelled  largely  on 
Hymns  Ancient  and  Modern,  from  which  book  many  tunes 
were  adopted;  the  intention  was  to  adapt  it  for  congrega- 
tional use,  avoiding  florid  compositions  and  watery  tunes 
as  far  as  possible.  The  publishers  "  took  time  by  the  fore- 
lock," and  the  entire  work  was  ready  some  months  before 
the  final  revision  by  the  Convention  committee,  which 
made  necessary  many  changes. 

The  Feast  of  The  Transfiguration  falling  this  year  on 
a  Sunday,  an  attempt  was  made  at  a  dignified  observance 
musically;  with  the  small  August  choir  not  much  could 
be  done,  but  the  music  was  all  of  a  stately  character:  it 
included  Tours'  Communion  Service  in  C,  with  the  an- 
thems, "  Give  the  Lord  the  honor  due,"  Lloyd,  and  "  God 
came  from  Teman,"  Steggall. 

The  record  of  this  year  has  several  points  of  interest, 
but  shows  a  comparatively  small  amount  of  new  music — 3 
new  Masses,  Hummel,  Gounod,  and  Cristiani — 4  Com- 


264  Trinity  Church,  New  York 

munion,  3  Morning,  3  Evening  Services,  with  12  anthems, 
2  German,  8  English,  and  2  American.  Twenty-five  Com- 
munion Services  were  sung  during  the  year  and  102 
Anthems. 

There  were  some  valuable  accessions  to  the  choir, 
W.  E.  G.  Evans,  an  accomplished  English  tenor  with  a 
light  voice  of  fine  quality ;  Mr.  William  Heydt  who,  a  little 
later,  was  principal  tenor  for  a  considerable  time  and 
filled  the  position  most  acceptably;  and  Mr.  Robert  Gibson, 
an  efficient  bass  singer,  who  had  served  as  a  boy  in  one 
of  the  Parish  choirs.  There  were  new  boys,  but  none  of 
importance. 

LII 
1893-1894 

This  proves  to  be  a  rather  uneventful  year ;  there  were 
no  special  services  or  commemorations  outside  of  the 
regular  course  of  the  Church's  year,  and  not  a  great  deal 
of  new  music.  The  general  average  of  the  singing,  how- 
ever, was  good,  there  was  variety  in  the  compositions  em- 
ployed, and  the  summary,  given  below,  will  show  that,  as 
regards  quantity,  we  did  not  fall  below  previous  years. 

September  exhibits  two  good  solo  anthems,  "  I  will 
wash  my  hands,"  Hopkins,  and  "  Ascribe  unto  the  Lord," 
Travers  (1 703-1 758).  The  first  Sunday  in  October  the 
Cristiani  Mass  was  sung  with  a  Credo  by  Stainer,  even- 
ing Service  in  D  by  Attwood  (1767-1838).  The  next 
Sunday  we  had  a  morning  Service  by  Cornell  for  the  first 
time;  on  the  15th  Hiller's  Psalm  125,  three  numbers, 
omitting  a  troublesome  fugued  chorus;  on  the  22d  an 
evening  Service  by  H.  J.  King,  of  the  very  modern  school. 


Choir  and  Music  265 

November  5  the  Communion  Service  was  Mozart  No.  7, 
anthem,  "  I  beheld,  and  lo,"  Elvey,  and  for  Offertory, 
"  Then  shall  the  righteous,"  with  the  chorus  following, 
from  Mendelssohn's  St.  Paul:  thus  carrying  on  the  ob- 
servance of  All  Saints  with  more  distinction  than  was 
possible  on  the  principal  day,  when  the  choir  was  small. 
On  the  19th  I  find  a  long  anthem  by  Wesley  divided  be- 
tween morning  and  afternoon.  Thanksgiving  Day,  Haydn 
No.  7  (short  Mass)  and  old  familiar  anthems. 

On  Advent  Sunday  the  Introit,  now  so  named  offi- 
cially, was  Barnby's  setting  of  "  It  is  high  time  "  instead 
of  Cutler's  which  had  been  used  for  several  years;  the 
Communion  Service  Gounod's  Orpheoniste  Mass,  all 
chorus;  and  Offertory  the  Benedictus  from  Beethoven's 
Mass  in  C,  quartet  and  chorus ;  afternoon  anthem  "  O 
come  Emmanuel,"  Thayer,  bass  solo  and  chorus.  There 
were  some  good  anthems  on  the  following  Sundays — 
"  The  wilderness,"  Goss,  "  How  beautiful  are  the  feet," 
with  chorus,  and  "  Comfort  ye,"  with  chorus,  the  two 
latter  from  "  The  Messiah." 

Christmas  Day  the  Credo  was  from  a  Mass  by  Henry 
Lincoln  Case,  former  choir-boy;  the  rest  of  the  service 
from  Mass  by  Saint-Saens:  both  sung  in  previous  years; 
anthems,  "  In  the  beginning,"  Thorne,  and  "  It  came  upon 
the  midnight  clear,"  Gilchrist :  all  repeated  on  the  Sunday 
after,  with  the  Handel  selection  in  the  afternoon,  chorus 
"  For  unto  us,"  Pastoral  Symphony,  recitatives,  and 
chorus  "  Glory  to  God." 

The  first  Sunday  in  January,  1894,  we  sang  Mozart's 
Mass  No.  7,  and  an  Offertory  anthem  from  Sullivan's 
"  Light  of  the  world,"  beginning  with  the  first  three  verses 
of  the  Magnificat  set  as  a  beautiful  treble  solo.  Others 
in  January  were  "  When  Jesus  was  born,"  Stainer,  part 


266  Trinity  Church,  New  York 

of  a  long  anthem  which  we  always  divided,  using  the  first 
number,  "  I  desired  wisdom,"  on  Septuagesima  Sunday : 
"  O  Jerusalem,"  Cutler,  "  I  will  mention,"  Sullivan,  and 
the  duet  and  chorus  from  Mendelssohn's  Psalm  95. 

February  4  the  music  at  High  Celebration  was  all 
from  the  Mass  of  Silas,  the  Offertorium  and  Graduale 
furnishing  anthems  appropriate  to  The  Purification;  the 
afternoon  service  on  the  first  Sunday  in  the  month  is 
chiefly  for  children,  and  Sterndale-Bennett's  anthem,  "  Re- 
member now  thy  Creator,"  comes  in  appropriately. 

In  Lent  processional  hymns  were  used,  and  Plainsong 
Responses:  a  hymn  in  place  of  Gloria  in  Excelsis.  In 
this  season  there  was  some  beautiful  solo  singing  by 
Heathe  Gregory,  a  mezzo-soprano  whose  voice  developed 
early  into  a  remarkably  fine  baritone:  he  did  not  remain 
with  us  long. 

March  4  the  Durand  Mass  was  sung,  with  Kyrie  of 
Schubert  in  F  for  Introit  and  Mozart's  2d  Motet  at  the 
Offertory;  on  Passion  Sunday  Mendelssohn's  Psalm  22, 
for  double  chorus. 

On  Easter  Day  Haydn  No.  1  was  given,  with  selec- 
tions from  "  The  Messiah "  at  both  services,  three 
choruses,  two  solos,  "  But  Thou  didst  not  leave,"  and 
"  The  trumpet  shall  sound,"  the  latter  admirably  sung  by 
Mr.  Price,  and  duet,  "  O  death,  where  is  thy  sting  " ;  also 
Mendelssohn's  Magnificat  and  Nunc  dimittis.  This  day's 
music  is  worthy  of  note,  and  certifies  to  the  good  condition 
of  the  choir.  The  music  was  nearly  all  repeated  the  next 
Sunday.  The  Feast  of  The  Annunciation  was  observed 
on  Monday,  April  2,  being  transferred  from  Easter  Day. 
The  2d  Sunday  after  Easter  Lucy-Barnes'  Psalm  23  was 
sung,  and  was  thenceforth  adopted  as  regular  anthem  for 
that  day. 


Choir  and  Music  267 

Ascension  Day  the  Processional  was  Macfarren's 
elaborate  chorus,  "  Give  thanks  unto  the  Lord,"  the  Mass 
Cherubini  in  C,  the  Offertory  a  large  part  of  Sullivan's 
Festival  Te  Deum;  these  had  all  been  sung  in  previous 
years;  the  Introit,  however,  was  new — the  first  number 
of  Handel's  "  Utrecht "  Jubilate,  written  to  celebrate 
British  victories  in  the  Low  Countries.  This  piece  formed 
the  Offertory  anthem  the  following  Sunday,  with  the  Silas 
Mass;  the  afternoon  anthem  being  "God  is  gone  up," 
Croft  ( 1 677-1 727). 

Whitsunday  the  Cherubini  Mass  was  sung  again,  ac- 
companied by  organs  only,  the  Offertory,  "  It  shall  come 
to  pass,"  Tours.  Trinity  Sunday  Durand's  Mass,  part  of 
Stainer's  anthem,  "  I  saw  the  Lord,"  and  one  number  from 
Sullivan's  Te  Deum ;  in  the  afternoon  the  Kyrie  of  Haydn 
No.  2.  The  Jubilate  of  Mendelssohn  as  afternoon  anthem 
was  the  last  important  piece  for  the  year. 

The  music  of  the  year  comprised  10  Masses — Haydn 
2,  Mozart,  Cherubini,  Gounod,  Saint-Saens,  Silas,  Du- 
rand,  Cristiani,  Case;  17  Anglican  Communion  Services; 
11  Morning  and  17  Evening  Services,  27  German  an- 
thems, 81  English,  and  5  American;  forming  a  total  of 
55  Services  and  113  anthems. 

There  were  notable  accessions  to  the  choir  this  year, 
and  first,  Mr.  John  M.  Fulton,  who  is  so  well  known  as 
a  tenor  vocalist  that  he  needs  no  commendation.  With 
a  voice  of  large  compass  and  power,  he  possesses  the 
highest  degree  of  musical  intelligence,  and  is  equal  to 
any  demands  in  any  class  of  music.  Unfortunately,  Mr. 
Fulton  remained  with  us  only  one  year;  he  is  an  artist 
who  can  command  at  any  time  much  larger  remuneration 
than  we  could  offer:  probably  only  the  extent  and  char- 
acter of  our  repertoire  attracted  him  for  the  time.    There 


268  Trinity  Church,  New  York 

came  to  us  also  Mr.  F.  Rycroft,  an  English  alto  of  re- 
markable ability  in  nearly  every  branch  of  music;  fortu- 
nately his  stay  with  us  was  more  extended.  Very  useful 
new  members  were  Mr.  Frank  M.  Parker,  tenor,  and 
Mr.  Mackie,  bass.  Among  the  new  boys,  Herman  W. 
Albert  was  an  alto  of  unusual  ability,  with  George  R. 
Griswold  in  the  same  department.  As  trebles,  Heathe 
Gregory  and  J.  Austin  Davett,  of  Newark,  N.  J.,  con- 
tributed some  very  sweet  solo  work,  but  each  made  only 
a  short  stay;  Helmuth  J.  Gaess  may  be  mentioned  as  an 
excellent  treble  who  also  took  solo  work,  and  there  were 
others  of  less  importance. 


LIII 

1894-1895 

This  season  was  evidently  started  with  much  energy, 
for  I  find  that  in  the  month  of  September  alone,  5  Sundays 
and  2  Saints'  Days,  we  used  7  Communion  Services,  4 
Morning  and  4  Evening  Services,  and  19  anthems;  of 
course  many  of  these  were  familiar  and  in  frequent  use, 
but  there  were  several  large  compositions  with  solos,  such 
as  the  Durand  Mass,  Goss's  Wilderness,  etc.;  the  quality 
of  the  singing  is  another  matter,  but  I  venture  to  assert 
that  it  was,  at  least,  fairly  good. 

The  High  Celebration  on  October  7th  employed  Mo- 
zart's Mass  No.  1,  the  last  half  of  V.  Lachner's  Psalm 
100,  and  the  opening  chorus  of  "  Not  unto  us,"  Gadsby, 
the  rest  of  the  work  being  sung  in  the  afternoon,  all  of 
it  for  the  first  time.  Other  anthems  during  the  month 
were  Mendelssohn's  Jubilate ;   "  I   was  glad,"   Horsley ; 


Choir  and  Music  269 

"Whoso  dwelleth,"  Martin;  "And  the  wall  of  the  city," 
O.  King. 

The  first  Sunday  in  November  brought  a  new  Mass 
by  Rousseau,  a  well-known  Parisian  organist ;  it  is  rather 
dramatic  in  style,  and  the  conclusion  of  the  Gloria  is 
worked  up  in  a  manner  very  exciting  and  not  very  ecclesi- 
astical ;  it  has  no  Credo,  which  was  supplied  from  Durand. 
Elvey's  anthem,  "  In  that  day,"  was  divided  between  In- 
troit  and  Offertory.  Thanksgiving  Day  anthems  were 
"Praise  the  Lord,"  Hayes  (1707-1777),  and  part  of 
Cowen's  "  O  give  thanks " ;  the  Communion  Service 
Mozart  No.  1. 

Advent  Sunday  the  Communion  Service  was  by  A.  S. 
Baker,  a  young  musician  of  great  promise,  whose  career 
was  ended  prematurely  by  his  early  death;  he  had  how- 
ever made  his  mark  as  composer  and  organist;  his  Serv- 
ice is  elaborate,  nearly  reaching  the  dimensions  of  a  Mass. 
Offertory  this  day  was  the  Benedictus  of  Hummel's  2d 
Mass;  and  throughout  the  Advent  season  Offertories 
were,  all  of  them,  settings  of  the  "  Benedictus  qui  venit  " 
by  Mozart,  Hummel,  Silas. 

Christmas  Day  we  had  Weber's  Mass  in  Efc>,  with  old 
anthems,  all  repeated  on  the  Sunday  following  with 
Barnby's  Evening  Service  in  Efc>  and  the  selection  from 
"  The  Messiah,"  now  a  permanent  feature  at  this  service. 
The  Feast  of  The  Epiphany  fell  on  a  Sunday,  and  a 
novelty  on  that  day  was  the  Credo  from  Dvorak's  Mass, 
an  exacting  composition  with  many  original  points;  the 
Sanctus,  Agnus,  and  Gloria  of  Rousseau  completing  the 
service,  with  familiar  anthems.  The  Cantate  and  Deus 
misereatur  of  Hodges  in  C  were  used  at  this  period  on 
first  Sundays  of  the  month,  and  on  the  13th  a  new  Te 
Deum  by  Michael   Cross,   of   Philadelphia,   was   heard. 


270  Trinity  Church,  New  York 

Mozart's  Mass  No.  2  was  revived  in  February  with  a  new 
Introit,  "  Arise  shine,"  by  Gerard  Cobb,  a  distinguished 
English  amateur,  who  has  published  some  good  and  use- 
ful pieces.  Other  revivals  were  "  The  Lord  be  a  lamp," 
Benedict  and  Lachner's  Psalm  100. 

On  the  first  Sunday  in  Lent  the  Kyrie  of  Dvorak's 
Mass  was  introduced  with  the  Credo,  previously  sung; 
a  selection  from  Mendelssohn  at  the  Offertory  included 
the  double  quartet  in  "  Elijah."  On  following  Sundays 
two  anthems  deserve  mention,  "  As  the  hart  pants," 
Mendelssohn,  two  choruses  and  treble  solo,  and  "  God 
is  our  hope,"  Greene  (1696-1755).  For  Offertory  on 
Passion  Sunday  we  had  one  number  from  Gounod's 
"  Seven  last  words  " — "  Father,  into  Thy  hands,"  severely 
contrapuntal  and  gloomy,  a  style  of  writing  adopted  by 
Gounod  in  his  later  years.  In  the  afternoon  we  sang 
Haydn's  setting  of  the  same  text;  music  of  a  totally  dif- 
ferent character,  full  of  melody  but  still  appropriate;  it 
was  difficult  for  Haydn  to  write  anything  really  sad 
or  gloomy;  the  Kyries  of  his  Masses  are  altogether 
too  gay,  even  in  a  prayer  he  must  be  cheerful.  On  Palm 
Sunday  another  number  of  Gounod's  work  was  sung, 
"  There  was  darkness,"  similar  in  style  as  is  the  whole 
work. 

The  Easter  Day  service  included  Hummel's  Mass  in 
Bb,  "  The  Lord  is  my  strength,"  Goss,  and  part  of  a  long 
Wesley  anthem;  Handel  in  the  afternoon:  all  the  music 
repeated  on  the  Octave.  On  May  5th  Dr.  Crotch's  ( 1775— 
1847)  splendid  anthem,  "  Sing  we  merrily,"  two  fugued 
choruses  and  sestet,  and  J.  P.  Morgan's  "  I  will  thank 
Thee." 

The  Ascension  Day  service,  the  51st  orchestral,  began 
with  Le  Jeune's  Hymn,  "  God  of  God,"  scored  for  the 


Choir  and  Music  271 

occasion  by  the  composer,  and  proceeded  with  the  Handel 
chorus,  "  How  excellent  Thy  name."  The  Mass  was  by 
Pierre  Louis  Philippe  Dietsch  (1808-1865),  clearly  a 
Frenchman  in  spite  of  his  German  surname;  a  very  long 
Mass  in  which  many  cuts  were  necessary.  Haydn,  Mo- 
zart, and  Gounod  rarely  have  to  be  "  cut,"  but  some  of 
the  moderns  are  less  reticent,  and  their  long  fugues  have 
to  be  reduced:  in  many  cases  I  have  retained  only  the 
"  exposition  "  and  the  Coda,  omitting  all  of  the  "  working 
out."  The  Offertory  was  an  "  Alma  virgo  "  by  Hummel, 
set  to  English  words,  "  Jesus,  our  risen  King  " ;  the  florid 
solo  was  finely  sung  by  Mrs.  W.  R.  Hedden,  daughter  of 
our  former  highly  valued  alto,  W.  Smedley;  the  first  in- 
stance since  1859  of  a  lady  taking  part  in  our  services; 
this  piece  made  a  fine  effect.  The  orchestra  was  con- 
ducted by  Richard  Henry  Warren,  Mr.  Baier  being  at 
the  nave  organ,  Mr.  Hedden  at  the  chancel  organ.  Our 
large  organ  has  its  peculiarities,  and  it  is  desirable  that 
on  important  occasions  it  should  be  handled  by  the  regular 
organist  rather  than  by  a  stranger. 

Whitsunday  the  Dietsch  Mass  was  repeated  with 
accompaniments  by  the  organs,  the  anthems  were  not  new. 
Trinity  Sunday  the  Credo  of  Dvorak  was  again  sung, 
with  selections  from  Spohr's  "  Last  Judgment  " ;  after  this 
there  was  nothing  calling  for  notice. 

The  compositions  used  during  the  year  comprise  9 
Masses  and  Dvorak's  Credo,  20  other  Communion  Serv- 
ices, 12  Morning  and  16  Evening  Services,  with  103  an- 
thems— 22  German,  etc.,  76  English,  5  American. 

The  principal  bass  singer  this  year  was  Thomas  Bott, 
an  Englishman;  other  accessions  were  M.  H.  Smith  and 
W.  A.  Washburne,  tenors,  George  Herbert  Patterson, 
bass.     In  the  treble  department  appear  two  new  boys, 


272  Trinity  Church,  New  York 

B.  M.  Niebuhr  and  Charles  Cullen  Roberts,  who  did  fine 
work  as  soloists  and,  in  succession,  leaders;  Edwin  B. 
Burch  also  deserves  mention  for  general  efficiency. 


LIV 

1 895- 1 896 

September  and  October  of  this  year  may  be  passed 
over  with  mention  of  a  few  anthems,  "  As  the  hart  pants," 
Mendelssohn;  "I  was  glad,"  Horsley;  "O  for  a  closer 
walk,"  Birket  Foster  (new),  and  "The  Lord  maketh  a 
way,"  Smart. 

November  3  we  sang  a  new  mass  by  Dossert,  a  New 
York  organist;  the  work  has  merits  and  the  Gloria  espe- 
cially is  interesting,  it  dates  from  1894;  Introit  and  Of- 
fertory were  "  Whoso  dwelleth,"  Martin,  and  "  I  beheld, 
and  lo,"  Elvey,  both  of  them  compositions  of  distinction 
and  value:  these  of  course  had  reference  to  All  Saints' 
Day,  coming  within  the  Octave.  A  new  Evening  Service, 
Lloyd  in  D,  may  be  noted  in  passing  to  Thanksgiving  Day, 
which  was  celebrated  with  Haydn's  short  Mass  No.  7  and 
Oliver  King's  anthem,  "  Break  forth  into  joy,"  divided 
between  Introit  and  Offertory. 

In  Advent  season  processionals  were  sung,  and  their 
use  has  been  continued  since,  in  Lent  also.  The  only 
notable  anthem  was  the  quartet  from  Elijah — "  O  come, 
every  one  that  thirsteth." 

Christmas  Day  shows  Schubert's  Mass  in  Bb,  Stainer's 
anthem,  "  The  morning  stars  sang  together,"  and  the 
arrangement  of  "  Adeste  fideles  "  by  the  late  H.  G.  Thun- 


Choir  and  Music  273 

der;  this  is  not  in  anthem  form,  but  is  varied  in  the  dis- 
position of  voices  and  has  an  accompaniment  in  orchestral 
style;  we  had  sung  it  some  years  earlier  with  orchestra. 

January  5,  1896,  Dossert's  Mass  was  repeated  with 
Offertory  from  Gade's  "  Holy  Night " ;  in  the  afternoon 
"O  thou  that  tellest,"  Handel.  On  the  26th  Mann's 
elaborate  Te  Deum  in  D  was  revived — a  most  exasperat- 
ing trial  for  a  choir,  but  really  fine  if  you  can  get  it  right. 
In  the  afternoon  we  had  a  new  Handel  anthem,  "  How 
beautiful  are  the  feet  " ;  this  was  written  for  the  Oratorio 
of  "  The  Messiah,"  but  rejected  by  the  composer,  who 
found  some  difficulty  in  deciding  upon  the  treatment  of 
this  text:  consisting  of  a  duet  for  altos,  followed  by  a 
chorus,  it  is  certainly  interesting,  but  not  equal  to  the 
setting  finally  adopted. 

On  February  2d  there  were  two  new  things,  a  Mass 
by  G.  F.  Le  Jeune,  first  sung  at  the  Choir  Union  in  1877, 
and  a  composition  of  Mozart,  little  known  and  of  no  great 
value:  it  is  in  Italian  style  and  consists  of  a  rather  florid 
soprano  solo  set  to  Psalm  117,  with  Gloria  Patri  on  the 
same  theme  for  chorus.  A  new  anthem  by  Rev.  Dr. 
Hodges,  "  I  will  love  Thee,"  comes  on  the  following 
Sunday. 

The  first  Sunday  in  Lent  we  have  a  new  Evening 
Service  by  F.  H.  Messiter,  a  London  organist;  on  the  2d 
Sunday,  March  1,  Durand's  Mass,  without  Gloria,  and 
Mendelssohn  selections,  which  included  "  Lord,  bow 
Thine  ear,"  from  Elijah,  for  treble  solo  and  chorus, 
"  O  rest  in  the  Lord,"  and  chorus,  "  He  that  shall  endure." 
On  following  Sundays  Mendelssohn's  eight-part  Psalm, 
"  Judge  me,  O  God,"  and  two  numbers  of  Haydn's  "  Seven 
Last  Words." 

Easter  Day  there  was  a  fine  programme  with  much 


274  Trinity  Church,  New  York 

new  music:  first,  a  Mass  by  Charles  Marie  Widor,  laid 
out  in  a  novel  manner.  It  is  written  for  two  organs  and 
two  choirs,  the  first  choir  made  up  in  the  usual  manner, 
S.  A.  T.  B.,  the  second  choir  all  baritones  singing  almost 
entirely  in  unison ;  at  the  production  of  this  work  in  Paris 
the  second  choir  was  formed  of  about  200  seminary  stu- 
dents. Under  favorable  conditions  the  music  would  un- 
doubtedly produce  a  great  effect,  but  I  fear  that  we  hardly 
realized  the  composer's  intentions;  we  imported  a  few 
additional  baritones  for  the  occasion,  but  they  did  not 
distinguish  themselves  much;  the  Mass  has  no  Credo, 
which  was  supplied  from  Gounod.  For  Offertory  we  had 
the  Graduale  of  Liszt's  Coronation  Mass;  and  in  the 
afternoon  a  new  anthem,  "  As  it  began  to  dawn,"  Martin, 
which  closes  with  the  first  stanza  of  the  Easter  Hymn; 
the  anthems  all  repeated  the  next  Sunday  with  Durand's 
Mass.  On  the  3d  Sunday  appears  a  new  anthem  by  Henry 
L.  Case,  "  Behold,  in  this  mountain." 

The  Ascension  Day  service,  53d  of  the  orchestral 
series,  included  the  Processional  Hymn  of  Le  Jeune,  In- 
troit,  "  Lift  up  your  heads,"  Handel,  first  time,  Beetho- 
ven's Mass  in  C  for  the  fourth  time,  and  the  Hummel 
Offertory  of  last  year,  again  sung  by  Mrs.  Hedden. 

The  services  of  Whitsunday  and  Trinity  Sunday 
present  nothing  new:  the  Masses  sung  were  Schubert  in 
Bb,  and  Durand,  with  Credo  of  Dietsch;  the  other  music 
all  well  known. 

The  number  of  compositions  used  during  the  year 
about  equalled  that  of  the  previous  year,  and  a  summary 
may  this  time  be  omitted.  Three  new  composers  appear, 
Widor,  Dossert,  and  F.  H.  Messiter.  Widor's  organ 
music  is  occasionally  heard  here;  it  is  learned  and  in- 
genious but  not  very  interesting. 


Choir  and  Music  275 

I  find  a  number  of  new  boys :  of  these  Henry  M.  Man- 
sell  and  Henry  C.  Reimer  may  be  mentioned  as  distin- 
guishing themselves  in  solos  and  other  work.  Mr.  Henry 
Arden  came  in  as  a  volunteer  tenor,  a  gentleman  of  limited 
vocal  power,  but  strongly  attached  to  the  Church,  its 
services,  and  music. 


LV 
1 896- 1 897 

This  year,  the  last  to  be  recorded,  will  have  for  its 
most  important  occurrence  the  celebration  of  the  Bicen- 
tennial of  the  Parish,  the  music  of  which  will  be  described 
farther  on. 

A  considerable  number  of  new  compositions  was  in- 
troduced, especially  in  the  first  half  of  the  year:  the  first 
was  the  Kyrie  of  Weber's  Mass  in  G  in  October,  and  in 
the  same  month,  "  Behold  now,"  Calkin,  bass  solo  and 
chorus,  "  Acquaint  thyself  with  God,"  Greene,  alto  solo 
and  chorus,  a  Communion  Service  by  Warwick  Jordan, 
a  prominent  advocate  of  Gregorian  music;  his  music 
naturally  inclines  to  a  medieval,  rather  than  modern,  style ; 
this  Service  calls  for  accompaniment  by  brass  instruments 
and  organ. 

All  Saints'  Day  falling  on  a  Sunday  gave  the  oppor- 
tunity for  a  service  somewhat  more  stately  than  usual  on 
that  day :  the  principal  features  were  Gounod's  "  Sacred 
Heart "  Mass,  in  chorus  throughout,  and  a  selection  from 
Spohr's  "  Last  Judgment,"  which  provides  important  solo 


276  Trinity  Church,  New  York 

work;  an  Evening  Service  by  the  Rev.  Hobart  B.  Whitney, 
formerly  a  member  of  the  choir,  was  first  sung  this  day. 
On  the  15th  a  new  anthem  by  Gladstone,  and  part  of  the 
anthem  by  Mackenzie,  used  as  processional  on  Ascension 
Day  some  years  before.  Thanksgiving  Day  we  had  part 
of  Cornell's  anthem,  composed  for  the  Centennial  in  1876, 
Communion  Service  Smart  in  F,  and  "  O  be  joyful," 
Martin. 

Advent  Sunday  Cutler's  anthem  appears  again,  and 
on  the  second  Sunday  the  opening  number  of  Spohr's 
"  Last  Judgment,"  containing  solos  for  treble  and  bass 
and  stately  choruses. 

The  Christmas  Day  service  opened  with  a  new  anthem 
by  Henry  L.  Case,  "  How  beautiful  upon  the  mountains," 
sung  three  times  during  the  season ;  the  Mass  was  Schu- 
bert in  F,  and  Offertory  a  beautiful  pastoral  anthem 
by  Barnby,  "  While  shepherds  watched  their  flocks  " ; 
Mass  and  Offertory  repeated  on  the  Sunday.  On  Janu- 
ary 10th  the  opening  numbers  of  Mendelssohn's  Christus ; 
the  chorus  of  this,  "  There  shall  a  star,"  we  use  every 
year,  but  the  recitative  and  trio  for  men's  voices  not 
often. 

February  7  the  Rousseau  Mass  was  sung,  with  Credo 
from  Martin  in  A,  Introit,  "  See  what  love,"  from  "  St. 
Paul."  March  7  Martin's  Service  entire  (except  Gloria), 
and  at  the  Offertory  the  middle  section  of  the  Gloria  from 
one  of  Schubert's  Masses.  For  the  rest  of  Lent  I  have 
to  notice  only  one  rare  anthem,  "  The  Lord  hath  com- 
manded," from  Mendelssohn's  42d  Psalm,  a  treble  solo 
alternating  with  a  quartet  of  tenors  and  basses. 

Easter  Day  we  sang  Haydn's  Mass  No.  1,  "  He  is 
risen,"  Gadsby,  and  "  Love  Divine,"  Stainer,  duet  and 
chorus ;  in  the  afternoon  Calkin  in  G,  and  the  usual  Handel 


Choir  and  Music  277 

selection;  all  repeated  the  next  Sunday,  except  the  Mass, 
which  was  Gounod's  "  Sacred  Heart." 


BICENTENNIAL   OF  TRINITY  PARISH 
May  2  to  May  9 

In  describing  this  series  of  services,  so  important  from 
the  musical,  historical  and  ecclesiastical  points  of  view, 
I  have  derived  much  assistance  from  the  special  number 
of  the  "Trinity  Church  Record"  for  May,  1897,  and 
from  a  description  of  the  principal  service  in  the  "  Even- 
ing Post "  of  May  5,  1897.  This  service  was  an  event 
to  live  in  the  memories  of  those  participating,  but  many 
interesting  details  which  might  have  escaped  notice  have 
been  collected  from  these  and  other  sources. 

The  celebration  extended  over  an  Octave,  eight  days, 
May  2  to  May  9  inclusive:  eight  musical  services,  with 
addresses  delivered  on  intervening  days,  at  which  no  music 
was  recorded. 

The  musical  programme  of  Sunday,  May  2,  was  as 
follows : 


High  Celebration,  10.30 

Organ  Prelude. — Marche  triomphale  . 
Processional  Hymn. — "  Rejoice,  ye  pure  in  heart " 
Introit.— "  All  they  that  trust  in  Thee  " 

(1st  number  only.) 

Communion  Service,  en  Bb 

Hymn  294. — "  Christ  is  our  corner-stone  "     . 
Offertory. — "  How  lovely  are  thy  dwellings  fair  " 
At  Communion. — Andante  from  5th  Symphony  . 

(Organ  solo.) 
Recessional  Hymn. — "  Sing,  with  all  the  sons  of  glory, 
Postlude. — "  Hallelujah "  from  Engedi        .       .       .        Beethoven 

(Organ  solo.) 


Deshayes 
.  Messiter 
.      Hiller 

.  Schubert 

Wesley 

Spohr 

Beethoven 


Nottingham 


278  Trinity  Church,  New  York 

At  3.30  P.M. 

Organ  Prelude.— Offertoire  in  G Barnelt 

Processional  Hymn.— "Alleluia!  Alleluia!"  .  .  .  Barnby 
Psalms  84,  122,  134. 

Magnlficat  and  Nunc  Dimlttis,  in  D  ....  Tours 
Anthem. — "  The  Lord  hath  done  great  things  for  us  "  .  Smart 
Hymn  114. — "  Christ  the  Lord  is  risen  again  "  .  .  Rosenmiiller 
Recessional  Hymn. — "  The  King  of  love  "  .  .  .  .  Dykes 
Postlude. — 5th  Sonata Guilmant 

At  8  p.m.    Festival  of  the  Guilds 

Organ  Prelude. — Grand  Choeur  in  Eo  .  .  .  .  Dubois 
Processional  Hymn. — "The  Church's  one  foundation"  .  Wesley 
Psalm  96. 

Magnificat Chant 

Hymn  489.—"  Pleasant  are  Thy  courts  "       .       .       .       .     Gilbert 

Solemn  Procession. 
Hymn  516. — "  Onward,  Christian  soldiers  "  ...  Sullivan 

Organ  Solo. — Marche  militaire Schubert 

Recessional  Hymn. — "Sing,  with  all  the  sons  of  glory,"  Nottingham 
Postlude. — Sonata  in  D West 

For  the  morning  and  afternoon  services  some  addi- 
tional men  were  engaged,  making  up  a  choir  of  about  40 
voices;  competent  boys,  of  course,  could  not  be  had  from 
outside.  The  accompaniments  were  furnished  by  the  or- 
gans alone.  Mr.  Baier  played  the  great  organ  at  all 
services,  and  his  work  was  admirable  on  all  occasions, 
doing  full  justice  to  the  organ  and  to  himself.  Not  any 
of  the  choir  music  was  new,  but  all  was  good,  appropriate, 
and  well  sung.  The  evening  service  was  sung  by  the 
"  Night  Choir,"  composed  of  men  and  boys  mostly  from 
the  Guilds;  the  procession  included  all  of  the  Guilds  con- 
nected with  the  Parish  Church,  who  marched  round  the 


Choir  and  Music  279 

Church  singing  "  Onward,  Christian  soldiers  " ;  after  the 
hymn  was  sung  through  once  Schubert's  March  was 
played  on  the  great  organ,  and  then  the  hymn  was  taken 
up  again.  The  singing  was  vigorous  and  hearty,  and  the 
entire  service,  with  its  simple  music,  inspiriting  and  at 
times  thrilling. 

At  the  great  service  on  Wednesday,  May  5,  the  music 
was  as  follows: 

At  10.40. — Organ  Voluntary. — Grand  Chceur  in  C        .     Grison 
10.50. — Prelude  from  "Joan  of  Arc"  Mass      .      .    Gounod 

2  organs  and  8  brass  instruments. 

ii. — Processional  Hymn  194. — "God  of  our  fathers," 

G.  W.  Warren 

The  last  stanza  accompanied  by  orchestra  and  organs. 

— Psalms  93,  100,  125.    Single  chants. 

— Hymn  470. — "All  people  that  on  earth  do  dwell." 

Old  100th 

Followed  by  a  fanfare  of  trumpets,  and  the  Doxology, 
sung  by  choir  and  congregation  in  unison,  accom- 
panied by  orchestra  and  organs. 

— Festival  Te  Deum Sullivan 

— Recessional  Hymn. — "  Ten  thousand  times 

ten  thousand" Dykes 

— Postlude. — Overture,  "Consecration  of  the  house," 

orchestra.  Beethoven 

We  were  assisted  by  the  entire  choir  of  St.  John's 
Chapel,  men,  women,  and  boys,  and  several  men  with  one 
boy  from  other  places,  making  a  total  of  about  80  voices. 
Mr.  Baier  was  at  the  great  organ,  Mr.  Hedden  at  the 
chancel  organ,  and  Mr.  W.  G.  Dietrich  directed  the  or- 
chestra, which  contained  a  few  additional  brass  instru- 
ments; the  orchestral  accompaniments  were  played  with 
great  precision  and  were  highly  effective.  I  directed  the 
whole  service  from  the  chancel,  and  the  Prayers,  Creed, 


280  Trinity  Church,  New  York 

etc.,  were  intoned  by  the  Vicar,  the  Rev.  James  Nevett 
Steele,  Mus.  Doc.  The  procession  was  led  by  the  choir 
of  Trinity  Church,  followed  by  the  men  and  boys  of  St. 
John's  choir,  the  Clergy  of  the  Parish,  invited  Clergy, 
including  the  Rev.  Dr.  Coe,  of  the  Dutch  Reformed 
Church,  and  Rev.  Dr.  Duffield,  Presbyterian,  the  two 
latter  in  academic  gowns,  closing  with  the  Rt.  Rev.  Bishop 
Potter,  attended  by  his  Chaplain.  A  great  number  of 
distinguished  men  attended  the  service. 

The  prelude  of  Gounod's  Mass,  played  on  this  occa- 
sion, is  scored  for  four  trumpets  and  four  trombones, 
alternating  with  full  organ;  we  were  forced  to  change 
some  of  the  instruments,  using  cornets  and  horns  instead 
of  trumpets.  Real  trumpets  are  a  luxury  enjoyed  only 
in  the  very  first-class  orchestras,  and  their  parts  are 
usually  taken  by  cornets;  moreover,  space  was  very  lim- 
ited in  the  organ  gallery,  where  the  orchestra  is  always 
placed.  A  passage  for  voices  in  this  prelude  was  played 
on  the  chancel  organ,  as  a  near  approach  to  the  intended 
effect;  with  these  two  exceptions  the  composition  was 
played  as  written,  and  the  prolonged  fanfares  of  the  brass 
instruments  produced  a  fine  and  striking  effect;  as  did 
Dr.  Warren's  stately  hymn  tune,  each  stanza  preceded 
by  a  fanfare,  which  the  little  chancel  organ  did  its  best 
to  make  dignified,  and  the  last  stanza  bringing  in  the 
orchestra.  But  the  climax  was  reached  in  the  Old  iooth, 
sung  by  choir  and  congregation,  the  4th  stanza  in  unison 
followed  by  the  Doxology  accompanied  by  every  instru- 
ment and  sung  by  every  voice. 

The  Te  Deum  was  well  sung,  some  parts  approaching 
perfection;  the  first  number,  containing  a  fugue,  being 
especially  notable  for  precision  and  spirit.  The  principal 
solo,   "  When  thou  tookest  upon  Thee,"   intended  for  a 


Choir  and  Music  281 

soprano,  was  sung  by  Mr.  John  M.  Fulton  with  his  accus- 
tomed skill  and  effect;  another,  "  To  Thee  Cherubim,"  was 
taken  by  Miss  Brandeis  of  St.  John's  choir,  a  third  by 
Charles  Clifton  Clerke,  of  Trinity  Church  choir.  I  ap- 
pend two  notices  of  the  service  from  periodicals : 

"It  is  only  moderate  praise  to  say  of  the  service  that  no  such  mag- 
nificent, majestic  or  imposing  service,  musically  and  otherwise,  has  ever 
been  heard  or  witnessed  on  this  continent,  and  it  is  almost  superfluous 
perhaps  to  say,  that  the  greatest  praise  is  due  ...  for  the  superb  music, 
all  of  which  was  rendered  without  the  slightest  break  or  fault.  .  .  . 

"The  whole  service  went  off  with  perfect  smoothness  from  the 
beginning  to  the  end.  The  two  choirs,  organs  and  instruments  kept 
together  remarkably  well  in  the  processional  Hymns,  as  well,  in  fact, 
as  they  did  in  the  rest  of  the  music,  and  left  nothing  to  be  desired." 
— Evening  Post. 

"Certainly  no  service  of  praise,  so  magnificent,  majestic  and 
beautiful  ever  before  was  offered  in  this  country.  Not  a  break  or 
fault  defaced  the  least  part  of  it.  The  fine  Te  Deum  of  Sir  Arthur 
Sullivan  produced  an  overpowering  effect,  especially  toward  its  close, 
when  the  Chorale  'St.  Ann's'  first  given  vocally,  is  afterward  em- 
ployed by  the  Orchestra  in  accompaniment.  .  .  . 

"  The  Composition  itself  had  in  it  all  the  best  features  of  the  classical 
style,  with  portions  also  in  the  more  modern  romantic  manner;  the 
passage  'To  Thee  all  angels  cry  aloud'  might  illustrate  the  first; 
'To  thee  Cherubim  and  Seraphim'  the  second.  Both  were  glorious 
in  their  composition  and  rendering.  There  were  also  hints  here  and 
there,  of  the  severe  old  Plainsong  of  the  Church ;  and  none  could  help 
admiring  the  devotional  effect  of  the  Hymn,  St.  Ann's,  so  skillfully 
interwoven  in  the  superb  '  Finale.'  The  Te  Deum  seemed  to  embrace 
all  Church  styles,  and  to  sum  up  in  itself  the  musical  effect  of  the  two 
hundred  years  that  had  fled  since  Charter  Day,  a.d.  1697." — From 
the  Trinity  Church  Record. 

The  special  service  at  8  p.m.  of  the  same  day  was  sung 
by  the  choirs  of  Trinity  Church  and  of  the  Church  of  the 


282  Trinity  Church,  New  York 

Incarnation,  directed  by  Mr.  W.  R.  Hedden,  accompanied 
by  organs  only;  Mr.  Baier  being  at  the  great  organ,  Mr. 
Hedden  at  the  chancel  organ.  The  Church  was  crowded, 
and  the  following  programme  of  music  was  sung  with 
great  spirit: 

Organ  Prelude. — Marche  Pontificate  ....         Tombcllc 
Processional  Hymn. — "The  Church's  one  foundation"  .     Wesley 
Psalms  148,  149,  150. 
Cantate  and  Dels  misereatur,  in  G         ....       Crow 

Anthem. — Psalm  150 Randegger 

(Treble  solo  and  chorus.) 
Hymn. — "  With  one  consent  let  all  the  earth  "     .       .        Old  100th 
Recessional  Hymn. — "  O  God,  our  help  in  ages  past  "    .        Crojl 
Postlude. — Jubilee  Overture Weber 

The  Randegger  anthem  was  new;  of  no  permanent 
value,  but  suitable  for  the  occasion. 

On  Sunday,  May  9th,  there  was  a  High  Celebration 
with  music  as  given  below:  the  choir  reenforced  by  addi- 
tional voices. 

At  10.30 

Organ  Prelude. — Sonata  in  A Mendelssohn 

Processional  Hymn. — "Alleluia!  Hearts  and  voices  "       .    Bamby 

Introit. — "  Arise,  O  Lord  " Cobb 

Communion  Service. — Mass  No.  1 Haydn 

Hymn.—"  O  praise  ye  the  Lord  " Crojt 

Offertory. — Song  of  Miriam Schubert 

2  numbers — Treble  solo  and  chorus. 
Recessional  Hymn. — "  Now  thank  we  all  our  God  "        .     Criiger 
Postlude. — Fantasia  eroica Kuhmstedt 


Choir  and  Music  283 

At  3.30  P.M. 

Organ  Prelude. — Prelude  in  D Merkel 

Processional  Hymn. — "Sing  with  all  the  sons  of  glory,"  Nottingham 

Psalms. — 9th  Day. 

Magnificat  and  Nunc  Dimittis,  in  Eb       .       .       .       .     Garrett 

Anthem". — Psalm  150 Randegger 

Hymn. — "  Jesus  lives  " Gauntlet t 

Recessional  Hymn. — "  The  strife  is  o'er  "  .       .       .       Palestrina 
Postlude. — Toccata  in  E Tombelle 

The  Song  of  Miriam  is  a  production  of  Schubert's  last 
year,  1828,  and  is  full  of  inspiration  and  beautiful  vocal 
effects,  opening  with  a  ringing  soprano  solo.  He  calls 
it  an  Oratorio,  but  it  is  not  of  sufficient  dimensions  for 
that  title.  This  was  the  only  notable  item  of  the  day's 
music. 

This  series  of  great  services  is  described  by  a  writer 
in  "  The  Trinity  Record,"  referring  especially  to  the  Te 
Deum,  as  "  the  climax  of  the  two  hundred  years  of  music 
in  Trinity  Church  " ;  and  he  notes  that  the  eight  days' 
services  closed  with  the  word  "  Alleluia!  "  For  the  music 
of  this  celebration  the  Vestry  made  an  appropriation  of 
$1,100  for  Trinity  Church  alone. 

It  now  remains  to  notice  the  succeeding  Festivals,  in 
concluding  the  year's  record.  The  Ascension  Day  service 
was  orchestral  as  usual,  the  55th  of  the  series,  and  in- 
cluded Le  Jeune's  Processional  Hymn,  "  How  excellent," 
Handel,  the  Andre  Mass,  and  Mozart's  1st  motet;  none 
of  the  music  new,  or  calling  for  special  notice,  the  Bi- 
centennial having  absorbed  so  much  time  and  attention. 
Whitsunday  we  had  the  Andre  Mass  again  with  simple 
anthems,  but  Mendelssohn's  Psalm  98  in  the  afternoon 
should  be  mentioned ;  we  could  not  this  time  undertake  the 


284  Trinity  Church,  New  York 

two  double  choruses  of  the  first  half,  and  sang  only  the 
four-part  section.  Trinity  Sunday  brought  in  Hummel's 
Mass  in  Bb,  with  Stainer's  great  anthem,  "  I  saw  the 
Lord,"  entire;  none  of  this  new,  but  making  heavy  de- 
mands upon  a  choir. 

On  Sunday,  June  20th,  the  afternoon  service  was  de- 
voted to  a  commemoration  of  the  60th  anniversary  of  the 
Accession  of  Queen  Victoria :  for  this  a  special  "  Order 
of  Music  "  was  issued,  and  changes  made  in  the  official 
service  list.    The  music  used  was  as  follows: 

Processional  Hymn. — "Rejoice,  ye  pure  in  heart." 

Proper  Psalms,  20,  101,  121. 

Magnificat  and  Nunc  Dimittis. 

Anthem. — "Let  every  soul  be  subject  unto  the  higher  powers," 

Stainer 
Hymn. — "Now  thank  we  all  our  God." 
Offertory. — "God  save  the  Queen,"  with  variations        .       Rinck 

Played  on  the  Great  Organ  by  Mr.  Baier 
Recessional  Hymn. — "  Ten  thousand  times  ten  thousand." 

Dr.  Stainer  composed  two  anthems  for  the  celebration 
in  London;  ours  was  the  shorter  of  the  two,  very  brief 
notice  of  the  service  having  been  given.  The  celebration 
here  was  attended  by  the  British  Consul  and  Staff  and  a 
large  congregation. 

This  service  closes  my  imperfect  record  of  the  music 
of  Trinity  Church  for  200  years;  it  also  virtually  closes 
my  term  of  service  as  organist  and  choirmaster,  for,  on 
the  first  of  July  I  gave  over  the  Directorship  of  the  music 
into  the  efficient  and  worthy  hands  of  Mr.  Victor  Baier, 
whose  connection  with  the  music  of  Trinity  Church  began 
in  1872,  and  whose  record  has  been  invariably  good,  both 
as  choir-boy  and  as  assistant  organist.     I  have,  on  a  pre- 


Choir  and  Music  285 

vious  page,  expressed  my  feelings  of  respect,  affection 
and  gratitude  to  all  who  have  so  faithfully  aided  and  en- 
couraged me  in  my  work. 

The  music  of  the  year  1896-97  included  7  Masses,  15 
Communion  Services,  11  Morning  and  14  Evening  Serv- 
ices, and  96  anthems — 28  German,  61  English,  and  7 
American.  Total,  47  Services,  96  anthems.  New  and 
efficient  members  of  the  choir  were  Mr.  Oscar  B.  Thomas 
and  Mr.  William  Drill,  basses;  the  few  new  boys  had  to 
prove  their  worth  in  after  years. 

A  fully  choral  Service,  to  be  satisfactorily  carried  out, 
requires  not  only  a  good  choir,  but  also  Clergy  with  good 
voice  and  ample  musical  knowledge;  our  services  have 
gained  much  in  dignity  and  beauty  from  the  cooperation 
of  the  Rev.  J.  W.  Hill,  one  of  the  most  accomplished  in 
that  respect.  Mr.  Hill  was  a  member  of  the  choir  in  Dr. 
Cutler's  time,  is  familiar  with  both  plainsong  and  modern 
music,  and  sings  the  service  at  all  times  in  a  way  that 
may  be  truthfully  called  perfect.  All  of  our  clergy,  Vicar 
and  Curates,  are  efficient  organists,  and  have  played  at 
occasional  services  when  the  choir  was  not  employed. 


APPENDIX 


APPENDIX    A 

MISSION   SERVICES 

In  the  autumn  of  the  year  1884  it  was  decided  by  the  authorities 
of  the  Parish  to  hold  a  series  of  services  at  night  on  Sundays  from 
Advent  to  Easter:  such  services  to  be  of  a  missionary  character,  with 
simple  congregational  music,  and  to  last  one  hour. 

For  this  purpose  a  supplementary  choir  was  organized,  consisting 
of  a  number  of  boys  from  the  Parish  school  and  other  sources  in  the 
neighborhood,  with  some  men  from  the  Guilds  of  the  church.  It 
was  intended  to  be  essentially  a  voluntary  choir:  but  in  the  first  year 
one  man  and  one  boy  from  the  regular  choir  were  secured  to  lead  the 
singing,  receiving  a  small  fee  for  their  services.  An  appropriation 
of  $100  was  made  by  the  Vestry,  which  did  not  quite  cover  the  outlay. 
The  usual  short  form  of  evening  service  was  used,  consisting  of  pro- 
cessional hymns,  choral  responses  and  amens,  one  psalm  and  one 
lesson,  Magnificat,  one  or  two  hymns  and  a  short  sermon. 

In  order  to  encourage  and  assist  the  congregation  in  taking  part 
in  the  singing,  a  weekly  free  class  was  held  by  Mr.  Smedley  of  the 
regular  choir  for  one  or  two  seasons,  at  which  the  hymns  and  chants 
were  practised.  This  class  was  well  attended  by  men,  women,  and 
children,  and  did  much  good. 

The  following  year,  1885-86,  the  appropriation  was  increased  to 
$500,  and  the  choir  was  strengthened  by  four  men  and  one  boy,  who 
received,  as  before,  a  small  fee.  The  boys  of  the  supplementary  choir 
were  not  paid,  but  received  a  present  at  the  end  of  the  season,  generally 
in  the  shape  of  books. 

For  one  season  more,  1886-87,  tne  services  were  continued,  and 
then  were  given  up  for  four  years.  In  Advent  1 890,  they  were  resumed 
and  continued  through  the  winter. 

The  singing  has  been,  as  far  as  possible,  in  unison,  the  chanting 
always  so;  the  hymns  and  selected  psalms  being  printed  in  pamphlet 
form,  and  in  that  shape  used  both  by  choir  and  congregation. 

289 


APPENDIX    B 

TRINITY  CHURCH  ORGANS 

The  first  church,  built  1696-97,  contained  no  organ  until  en- 
larged for  the  second  time  in  1737. 

So  early  as  1703,  the  subject  of  procuring  an  organ  was  broached; 
and  a  committee  of  the  Vestry  was  appointed  "to  Confer  with  and 
Discourse  Mr.  Henry  Neering,  Organ-maker,  about  making  and 
Erecting  an  Organ  in  Trinity  Church  in  New  York,  and  if  they  shall 
think  meet  to  agree  with  him  on  as  easy  terms  as  possible."  Nothing 
came  of  the  negotiations,  and  in  1709  the  Rev.  Mr.  Vesey,  Rector, 
wrote  to  the  Archbishop  of  Canterbury  about  their  need  of  "a  sett  of 
Organs." 

There  was  as  yet  no  church  organ  on  the  continent;  the  first  being 
imported  for  King's  Chapel,  Boston,  in  1713.  Fourteen  years  later, 
a  small  organ,  also  imported,  was  given  by  Governor  Burnet  to  the 
Dutch  Church  in  New  York. 

In  August,  1738,  the  subject  was  again  brought  before  the  Vestry, 
and  it  was  voted  that  a  subscription  paper  for  an  organ  be  prepared. 
Ten  months  then  elapsed  during  which  subscriptions  were  secured, 
and  negotiations  begun.  June  i,  1739,  "Mr.  John  Clemm  of  Phila- 
delphia organ  maker  laid  before  the  Vestry  a  Scheam  for  making 
an  organ  for  Trinity  Church,"  whereupon  it  was  resolved  "that  the 
said  John  Clemm  be  forthwith  employed  to  make  an  organ." 

John  Clemm,  whose  correct  name  was  Johann  Gottlob  Klemm, 
was  born  at  Dresden,  1690,  studied  organ  building  under  Andreas 
Silbcrmann  who  built  the  great  organ  at  Strasburg  and  many  others. 
Klemm  came  to  this  country  in  1736,  and  settled  first  at  Philadelphia: 
he  afterwards  lived  for  a  time  in  New  York,  and  then  moved  to 
Bethlehem,  Pa.:  where  he  died  in  1762.  He  was  therefore  a  trained 
and  competent  organ  builder,  and  the  earliest  in  this  country. 

Clemm  set  to  work  at  once,  and  in  April,  1740,  he  is  requested 
by  the  Vestry  to  send  by  water  from  Philadelphia  such  pipes  and  other 

290 


Appendix  291 

parts  of  the  organ  as  he  has  already  finished.  This  was  done,  and  in 
May  it  is  ordered  "that  the  Organs  be  placed  in  the  West  Gallery 
of  the  Church  and  that  the  committee  take  care  to  have  the  same 
placed  and  put  up  in  the  best  manner."  Thanks  were  voted  to  Mr. 
John  Kersley  of  Philadelphia  "for  his  kind  and  friendly  offices  to 
those  about  the  organ,"  and  in  October  the  opinion  of  the  Vestry  is 
recorded,  "that  the  organ  pipes  be  gilded  with  gold  Leaf  in  such 
manner  as  the  Committee  shall  think  proper." 

The  organ  was  not  finished  until  the  following  year,  but  in  August, 
1 741,  Mr.  Clemm  announced  that  he  had  completed  the  organ  accord- 
ing to  agreement,  whereupon  it  was  voted  to  pay  him  the  remainder 
of  the  sum  due  him,  £520.  It  was  also  voted  to  pay  him  "for  his 
Extraordinary  work  in  shortening  the  case  and  making  two  pair  of 
Bellows  over  and  above  the  agreement";  and  to  pay  a  gratuity  of 
five  pounds  to  Mr.  John  Hann,  journeyman.  The  unanimous 
opinion  of  the  Vestry  is  also  recorded  "  that  if  the  Organ  is  approved 
of  by  a  Master  and  proper  judge  thereof:  that  then  the  said  Mr.  Clemm 
shall  have  such  present  made  him  by  this  board,  as  the  Vestry  shall 
Judge  suitable  to  his  performance." 

This  matter  of  the  gratuity  was  not  settled  for  more  than  two  years : 
but  in  January,  1744,  it  was  voted  to  pay  Mr.  Clemm  forty  pounds 
in  full  of  gratuity  promised  him.  It  was  also  agreed  by  him  at  this 
time  "that  when  a  good  organist  comes  here  and  finds  any  real  fault 
with  the  organ:  that  he  will  come  here  and  amend  it:  the  Vestry 
paying  the  charge  of  his  Comeing  here  and  Returning,  and  also  that 
he  will  change  three  Treble  Stops  that  are  now  in  wood  for  Pewter 
if  Required  for  the  sum  of  fifteen  pounds;  and  will  also  change  the 
Trumpet  stops  for  a  Double  Cornett  for  the  sum  of  fifteen  pounds 
and  will  make  a  Pedell  compleat  for  the  organ  for  the  sum  of  twelve 
pounds  if  Required." 

Unfortunately,  no  exact  specification  of  this  organ  is  in  existence : 
but  it  was  quite  large,  having  26  stops,  10  in  the  Great  Organ,  10  in 
the  Choir  Organ,  and  6  in  the  Swell :  three  sets  of  keys,  "  with  a  frontis- 
piece of  gilt  pipes,  and  otherwise  neatly  adorned,"  this  description 
appearing  in  the  advertisement  for  its  sale,  some  years  later.  It  is 
not  to  be  supposed  that  these  twenty-six  were  complete  stops,  probably 
very  few  of  them  were:  the  Swell  especially  must  have  had  a  very 
limited  compass.     The  Swell  organ  was  then  quite  a  recent  invention, 


292  Trinity  Church,  New  York 

and  its  presence  in  this  instrument  shows  that  English  models  were 
followed  rather  than  German.  The  total  cost  of  the  organ  too  does 
not  clearly  appear;  but  it  is  stated  in  Dr.  Berrian's  history  to  have 
been  £520,  exclusive  of  the  "gratuity"  to  the  builder. 

In  November  of  the  same  year,  1744,  the  organ  was  in  need  of 
repair,  and  Mr.  Clemm  was  sent  for  from  Philadelphia,  receiving 
six  pounds  for  his  services,  and  securing  an  order  for  the  "Double 
Cornet  Stop  in  Pewter,"  which  was  to  take  the  place  of  the  Trumpet. 
Soon  after,  he  is  called  upon  to  make  "three  or  four  new  bellows" 
to  be  stowed  in  the  belfry.  On  the  completion  of  the  organ,  three 
years  before,  Clemm  received  extra  payment  for  making  two  pairs 
of  bellows  more  than  the  agreement  called  for:  now  still  more  are 
required;  they  were  evidently  not  very  serviceable. 

This  organ  had  a  very  short  existence  in  Trinity  Church;  and  it 
is  tolerably  evident  that  the  materials  were  bad:  the  wood  probably 
not  enough  seasoned,  the  leather  not  properly  prepared,  and  the 
"pewter"  little  better  than  lead. 

Early  in  1751  it  is  ordered  "that  Col:  Robinson  have  the 
organ  cleaned  as  soon  as  conveniently  may  be  and  that  Mr.  Dies 
be  requested  to  view  the  same  and  give  directions  for  altering  and 
amending  it."  Accordingly  Mr.  Clemm  shortly  appears  before  the 
Board  and  agrees  to  "  take  down  the  organ,  clean  it,  mend  the  bel- 
lows and  pipes  and  other  parts  thereof  and  put  it  up  again  and  tune 
it  and  find  and  furnish  all  the  materials  and  alter  the  keys  in  a  proper 
manner  for  the  sum  of  twenty  pounds.  And  also  to  compleat  the 
Cornet  and  Sesqui  alto  stops  formerly  made  by  him  .  .  .  without  any 
further  charge  to  this  Board."  Mr.  Clemm  offers  also  "  to  make  a 
Vox  Humana  stop  for  the  sum  of  twenty-five  pounds,  not  to  be  taken 
unless  Mr.  Dies  and  Mr.  Rice  shall  judge  it  to  be  Good."  Considera- 
tion of  the  last  proposal  was  deferred,  and  it  was  not  heard  of 
again. 

After  twenty  years'  use  this  organ  was  condemned ;  and  at  a  Vestry 
meeting  in  March,  1761,  it  was  resolved  that  five  hundred  pounds 
be  allowed  toward  the  purchase  of  a  new  organ;  it  being  proposed 
by  several  gentlemen  to  raise  by  subscription  so  much  as  will  raise 
the  amount  to  seven  hundred  guineas.  The  negotiations  appear  to 
have  been  placed  in  the  hands  of  Mr.  Harison,  who  became  organist 
about  this  time.     The  £500  vvcre  Paid  to  him  in  June,  1762;  and  in 


Appendix 


293 


November  of  that  year  Clemm's  instrument  was  advertised  for  sale, 
but  the  new  organ  did  not  actually  arrive  until  April,  1764.  It  was 
built  by  Snetzler,  the  maker  of  several  fine  organs  in  England,  and  was 
considered  a  good  specimen  of  his  work.  No  description  of  it  is  in 
existence. 

This  organ,  with  the  Church,  was  destroyed  by  fire  in  1776;  and 
on  account  of  the  unsettled  condition  of  public  affairs,  and  money 
difficulties,  there  was  considerable  delay  in  rebuilding.  However  in 
1788  the  second  Trinity  Church  was  completed,  and  another  organ 
imported  from  England.  This  was  built  by  Holland  of  London, 
and  bore  the  date  1791 ;  it  is  described  by  Dr.  Berrian  as  "of  no  great 
power,  but  sweet  toned,  and  well  adapted  to  the  size  of  the  building." 
No  other  organs  by  Holland  are  known,  and  this  was  an  indifferent 
instrument:  it  was  described  by  Dr.  Hodges  as  "an  exceedingly  poor 
affair." 

I  am  able  to  give  the  complete  specification,  through  the  kindness 
of  Dr.  Gilbert,  to  whom  I  am  indebted  for  much  information  on  the 
older  organs. 


Organ  by  H.  Holland  in  Trinity  Church,  1791  to  1839 


Great  Organ 

GG  (without  GG#)  to  F  in  alt:  58  notes. 

i.  Open  Diapason 

2.  Open  Diapason  (from  Gamut 

G)  (more  probably  Principal) 

3.  Twelfth 

4.  Fifteenth 

5.  Sesquialtera 

6.  Cornet,  mounted  (5  ranks) 

7.  Trumpet 


Choir  Organ,  same  compass 

(To  which  the  Great  Organ  was  perma- 
nently coupled.) 


9- 
10. 
n. 
12. 

i3- 


Stopped  Diapason 

Dulciana 

Principal 

Flute 

Night  Horn 

Cremona 


Swell  Organ,  Tenor  G  to  F.     35  notes 

14.  Open  Diapason 

15.  Stopped  Diapason 

16.  Principal 

17.  Cornet 

18.  Hautboy 

19.  Trumpet 


294  Trinity  Church,  New  York 

The  instrument  had  no  pedals  of  any  kind  *  the  tone  was  miser- 
ably weak  and  thin,  the  pipe  scales  being  very  small,  especially  in  the 
bass.  It  had  moreover  not  been  well  cared  for,  and  the  pipes  were 
much  mutilated  when  examined  in  1839.  Its  dimensions  were,  width 
14  feet,  depth  10  feet,  and  height  about  30  feet. 

After  its  removal  from  Trinity  Church,  it  was  put  up  in  the  German 
Reformed  Church,  Norfolk  Street,  New  York,  where  the  remains  of 
it  are  still  standing.  The  compass  was  changed  to  CC,  and  the  choir 
organ  manual  removed.  Afterwards  16  feet  pedal  pipes  were  added, 
and  lately  most  of  the  pipes  have  been  replaced  by  new  ones ;  so  that 
little  of  the  old  organ  remains. 

Poor  as  it  was,  this  organ  stood  in  Trinity  Church  for  more  than 
forty-five  years;  but  the  time  had  then  come  for  something  better, 
and  in  1837  or  1838  a  contract  was  made  with  Firth  and  Hall  to  build  a 
new  organ  for  Trinity  Church.  The  principal  business  of  this  firm 
was  music  publishing,  but  they  had  also  an  organ  factory  in  Attorney 
Street,  of  which  the  real  working  head  was  Thomas  Robjohn. 

Before  this  organ  was  completed,  events  occurred  which  led  to  a 
change  in  its  destination.  The  first  event  was  the  arrival  of  Dr. 
Hodges,  and  his  appointment,  in  January,  1839,  as  "  organist  in  Trinity 
Parish."  The  presence  and  influence  of  Dr.  Hodges  led  to  fresh 
discussion  of  what  should  be  done  for  Trinity  Church,  and  to  a 
conviction  that  the  Firth  and  Hall  organ  would  be  inadequate.  It 
contained  twenty  stops,  distributed  as  follows: 

Great  Organ  GG  to  F  (without  GG#)        .       .  8  stops 
Choir       "  "  "  •       -  5     " 

Swell        "     TenorFtoF 6     " 

Pedal       "     GG  to  G  .       .  .       .       .  1     " 

With  \\  octave  of  pipes — CC  to  G. 


These  particulars  I  found  in  some  rough  memoranda  of  Dr. 
Hodges ;  written  in  pencil  over  fifty  years  ago,  they  were  not  very  dis- 
tinct, and  the  above  description  therefore  may  not  be  quite  accurate. 
The  same  authority  gives  $3,000  as  the  cost  of  this  organ,  from  which 
amount  $1,000  was  deducted  for  the  old  (Holland)  instrument. 

Then  came  the  discovery  that  the  Church  building  was  unsafe, 

*  Pedals  were  not  introduced  into  English  organs  until  about  1790. 


Appendix  295 

and  the  decision  of  the  Vestry,  in  September,  1839,  t0  build  a  new 
Church  which  should  contain  a  "magnificent  organ." 

The  Firth  and  Hall  organ  was  thereupon  (November,  1839) 
placed  in  St.  John's  Chapel:  the  old  organ  of  that  church  (by  John 
Lowe  of  Philadelphia,  181 3)  being  packed  away  in  the  tower,  and  in 
1845  given  by  the  Vestry  to  St.  Clement's  Church,  N.  Y. 

Dr.  Hodges  was  at  once  called  upon  to  furnish  the  specification 
for  an  organ  to  be  placed  in  the  new  church:  and  a  summary  of 
the  same  is  here  given,  which  will  show  that  the  organ  actually 
built  and  now  standing  differed  radically  from  his  intentions  and 
ideas. 


First  Specification  by  Dr.  Hodges,  November  20,  1839. 
Four  Manuals  and  Pedal  organ 

ACTUALLY 


Great  Organ,  CCC  to  E  in  alt 16  stops 

Swell       "       CC  to  E  in  altissimo   .       .       .       .  14     " 

Choir      "       CCtoEinalt 8     " 

Solo  Tenor  C  to  E  in  alt  )  fi     " 

(with  three  spare  slides)            \ 
Pedal      "       CCC  to  C 7     " 

Total 51     " 

Mechanical  movements 12 


BUILT 
12 

9 
6 

o 

1 

28 

II 


The  long  keys  were  to  be  of  ebony,  and  the  short  ones  of  ivory; 
the  pedals,  of  brass.  Minute  directions  were  given  as  to  the  details, 
especially  in  regard  to  the  construction  of  the  swell  box  and  arrange- 
ment of  the  bellows.  Dr.  Hodges'  plan  contemplated  the  importation 
of  certain  entire  "stops"  of  pipes  from  England  or  Germany,  which 
might  be  inserted  at  a  later  period,  if  the  Vestry  thought  fit  to  distribute 
the  cost  of  the  organ  over  a  number  of  years;  the  necessary  sound 
boards,  etc.,  for  the  same  to  be  inserted  however  at  once. 

As  might  be  expected,  this  scheme  was  of  too  large  dimensions  for 
acceptance  by  the  Vestry,  and  the  matter  rested  for  three  years.  In 
September,  1842,  Dr.  Hodges  was  directed  to  prepare  the  specification 
of  an  organ,  the  cost  of  which  should  not  exceed  $7,000,  exclusive 
of  the  case,  and  to  procure  estimates  for  the  same  from  various  organ 


296  Trinity  Church,  New  York 

builders.  This  was  at  once  done,  and  the  specification  was  submitted 
to  the  following  firms,  five  in  number:  H.  Erben,  Firth  and  Hall, 
Henry  Crabb,  Jardine,  and  Appleton  of  Boston.  The  last  named 
declined  to  compete,  but  from  the  four  other  firms  estimates  were 
received,  which  varied  from  $6,300  to  $12,600.  It  is  a  curious  thing, 
and  one  not  easily  explained,  that  the  highest  estimate  was  exactly 
double  the  amount  of  the  lowest.  The  lowest  estimate  was  Mr. 
Erben's,  and  was  accepted,  as  it  came  within  the  amount  designated 
for  the  purpose,  and  was  supported  by  Dr.  Hodges,  who  represented 
to  the  Vestry  that  Erben  had  the  greatest  facilities  for  carrying  out 
the  undertaking — a  spacious  and  convenient  factory,  able  and  ex- 
perienced workmen,  and  ample  means. 

In  September  of  the  following  year,  1843,  the  contract  with  Mr. 
Erben  was  signed,  for  the  erection  of  an  organ  in  accordance  with 
the  specification  and  estimate,  for  the  sum  of  $6,300,  exclusive  of 
case :  the  work  to  be  done  under  the  supervision,  and  to  the  satisfaction 
of  Dr.  Hodges;  and  the  whole  to  be  completed  by  September  1,  1845. 
The  right  was  reserved  by  the  Vestry  to  import  all  the  reed  stops 
from  Europe  at  their  own  cost :  $680  being  in  that  case  deducted  from 
the  stipulated  cost  of  the  organ.  The  full  specification  is  now  given, 
which  represents  the  organ  actually  built,  and  used  without  material 
alteration  for  over  twenty  years. 

Dr.  Hodges'  Second  Specification,  dated  September,  1842. 
Three  Manuals  and  Pedal 

Great  organ,  CCC  to  F,  5%  octaves. 

1.  Open  Diapason,  large  scale. 

2.  "  "         smaller  scale. 

3.  Stopped  Diapason. 

4.  Flute. 

5.  Principal,  large  scale. 

6.  Principal,  smaller  scale. 

7.  Twelfth. 

8.  Fifteenth. 

9.  Sesquialtera,  3  ranks. 

10.  Mixture,  3  ranks. 

11.  Trumpet. 

12.  Clarion. 


Appendix 


297 


Swell  Organ.     Compass  of  Manual  CCC  to  F  in  altisshno,  6 \  octaves. 
"  "         Compass  of  stops,  Tenor  C  to  F  in  altissimo,  4^  octaves. 

13.  Stopped  Double  Diapason. 

14.  Open  Diapason. 

15.  Stopped  Diapason. 

16.  Dulciana. 

17.  Principal. 

18.  Cornet,  5  ranks. 
ig.  Hautboy. 

20.  Trumpet. 

21.  Clarion. 

Swell  Bass,  outside  of  Swell  box.     CCC  to  Tenor  C,  2  octaves  (25 
pipes),  the  upper  C  connected  with  Pedals  only. 
Dulciana. 
Serpent. 
Choir  Organ.     Compass  of  Manual  CCC  to  F,  5J  octaves. 
"  "  Compass  of  Stops  CC  to  F,  4 \  octaves. 

22.  Dulciana. 

23.  Stopped  Diapason. 

24.  Principal. 

25.  Flute. 

26.  Fifteenth. 

27.  Clarinet  and  Bassoon. 

The  lowest  octave  of  keys  connected  with  Swell  Bass. 
Pedal.  Compass  of  Pedal-board,  CCC  to  C,  2  octaves. 

28.  Open  Diapason.     32  feet.    Wood.  3  octaves. 


Couplers 

1.  Great  to  pedal,  unison. 

2.  octave. 

3.  Swell  to  pedal. 

4.  Choir  to  pedal. 

5.  Swell  to  great,  unison. 

6.  "        "       octave. 

7.  Choir  to  great. 

8.  Swell  to  choir,  unison. 

9.  "       octave. 

10.  Pedal,  unison. 

11.  "      octaves. 


Number  of  Pipes 


Great  organ 
Swell  organ 
Swell  bass 
Choir  organ 
Pedal      " 


1,056 

702 
5o 

324 
37 

2,169 


In  the  two  lowest  octaves  of  the  Swell  manual,  and  one  lowest  of 
the  Choir  manual,  the  colors  of  the  keys  were  reversed;   the  long 


298  Trinity  Church,  New  York 

keys  being  made  of  ebony,  the  short  ones  of  ivory.  The  pedal  keys 
were  of  brass. 

In  those  days  there  were  no  fixed  rules  for  the  compass  or  plan 
of  an  organ  in  England;  and  English  customs  in  such  matters  were 
followed  here.  The  organ  was  not  used  as  a  concert  instrument,  and 
there  were  no  organ  virtuosi.  When  a  new  organ  was  required,  the 
organist  or  organ  builder  followed  his  own  ideas  or  whims ;  and  the 
use  of  the  organ  was  confined  to  accompanying  the  music  of  the 
service  on  the  Choir  organ,  or  diapasons  of  the  Great  organ;  and  to  an 
andante  movement  for  opening  voluntary  and,  at  best,  a  Handel 
chorus  after  the  service.  The  compositions  of  Bach  were  only  begin- 
ning to  be  known,  and  few  could  play  them.  If  Dr.  Hodges  had  not 
been  a  cultivated  and  enlightened  musician,  acquainted  with  German 
organ  music  and  organ  methods,  our  organ  would  have  been  a  much 
inferior  instrument.  As  it  is,  certain  features  of  his  scheme  are  to  be 
regretted;  because,  up  to  1892,  the  most  radical  defects  remain  un- 
corrected. The  organ  has  since  been  improved  in  some  respects  and 
brought  under  easier  control  of  the  performer.  Additions  have  also 
been  made;  but  the  absence  of  an  independent  pedal  organ,  and  the 
incomplete  range  of  the  swell  are  indefensible,  and  are  serious  defects. 

A  peculiar  feature  of  the  scheme,  which  still  exists,  is  the  unusual 
compass  downward  of  the  great  organ,  which  extends  one  octave 
lower  than  usual.  This  has  to  be  relied  on  to  supply  the  place  of  a 
pedal  organ,  with  the  help  of  the  two  half  stops  designated  swell  bass, 
which  can  be  used  independently. 

Another  peculiarity  was  the  shape  and  material  of  the  pedal  keys, 
which  were  of  brass,  and  had  a  projecting  ridge  running  lengthwise 
through  the  center.  This  was  an  invention  of  Dr.  Hodges,  and  was 
supposed  to  give  a  better  hold  for  the  foot;  and  to  afford  facility  for 
playing  with  one  foot,  leaving  the  other  free  for  the  swell  pedal. 

The  short  swell  and  absence  of  pedal  organ  were  due  presumably 
to  financial  considerations;  but  the  incomplete  compass  of  pedal  board 
cannot  be  thus  accounted  for.  A  compass  of  two  octaves  is  not 
sufficient  for  the  performance  of  Bach's  organ  music,  with  which 
Dr.  Hodges  must  have  been  acquainted,  and  one  of  the  earliest  im- 
provements to  the  organ  consisted  of  a  new  pedal  board,  of  full  com- 
pass and  with  ordinary  wooden  keys.  The  other  radical  defects, 
short  swell  and  absence  of  pedal  organ,  remain  to  this  day. 


Appendix  299 

The  largest  pedal  pipe  was  about  thirty  feet  in  length ;  in  diameter 
36  inches  by  30,  interior  measurement,  and,  according  to  Erben, 
weighed  about  half  a  ton.  Just  before  the  large  pipes  were  removed 
to  the  Church,  Dr.  Hodges  took  twenty-two  boys  to  the  factory,  and 
put  them  all  into  the  largest  pipe ;  afterward  twenty  men  and  fourteen 
boys  were  inside  together.  In  the  Walcker  organ,  which  stood  in 
the  Music  Hall  at  Boston,  the  corresponding  pipe  was  thirty-five  feet 
in  length  and  twenty-four  inches  in  diameter;  it  was  thus  of  smaller 
scale  and  less  full  in  tone. 

Erben  obtained  also  the  contract  for  making  the  case  of  the  main 
organ,  at  the  price  of  $2,000,  which  was  afterwards  exceeded.  This 
contract  did  not  include  the  choir  organ  in  front,  or  the  woodwork 
running  round  the  gallery,  but  merely  a  front  for  the  main  organ. 
The  case  was  designed  by  Mr.  Upjohn,  the  architect  of  the  Church, 
and  is  solidly  constructed  of  oak.  The  central  group  of  pipes  is 
formed  of  speaking  pipes,  being  the  lowest  five  of  the  large  open 
diapason  in  the  great  organ;  all  the  others  are  dummies.  The  ex- 
treme height  of  the  case  from  the  gallery  floor  is  fifty-three  feet,  the 
width  twenty-four  feet.  The  central  pipe,  the  largest  metal  pipe  in 
the  organ,  is  twenty-two  feet  in  length  and  five  feet  six  inches  in 
circumference.     The  width  of  the  gallery  is  thirty-four  feet. 

Until  about  1842,  Erben's  manager,  and  the  leading  mind  of  the 
establishment,  had  been  Thomas  Hall,  well  known  as  a  thoroughly 
skilful  practical  organ  builder;  but  about  this  time  they  separated, 
and  Hall  went  into  business  on  his  own  account.  He  therefore  had 
no  part  in  the  construction  of  our  organ,  a  circumstance  much  regretted 
by  all  interested  in  the  undertaking.  The  plan  of  the  organ  was 
probably  drawn  by  John  Fawcett,  and  the  construction  directed  by 
him.  The  metal  pipes  were  voiced  by  William  Berry;  the  wood 
pipes  made  by  Fawcett,  and  the  reeds  by  James  Blake,  who  had  a 
high  reputation  as  a  reed  maker.  The  action  was  made  by  Fawcett 
and  Brotherton.    All  of  these  were  English  workmen. 

The  building  of  the  Church  proceeded  slowly;  much  more  so  the 
building  of  the  organ.  The  contract  stipulated  for  its  completion 
by  September  1,  1845;  but  not  until  October  of  that  year  was  the  first 
instalment  placed  in  the  Church,  consisting  of  the  pedal  pipes,  bellows, 
part  of  the  sound  boards,  and  the  keys.  After  this  the  work  went 
on  slowly  and  intermittently;  on  the  2d  of  April,  1846,  a  few  pedal 


300  Trinity  Church,  New  York 

pipes  were  made  to  speak,  and  in  honor  of  the  occasion,  two  bottles 
of  champagne  were  provided  by  Dr.  Hodges,  and  the  heads  of  the 
various  departments  drank  a  toast  to  "  the  harmony  of  Trinity  Parish," 
inside  the  organ.  On  the  21st  of  April,  one  complete  stop,  the  Swell 
Open  Diapason,  was  in  place,  and  was  tested  by  Dr.  Hodges.  One 
month  later,  the  consecration  of  the  Church  occurred,  and  not  a  single 
pipe  of  the  Great  organ  was  in  place,  except  the  five  front  pipes,  which 
were  not  yet  connected.  For  that  important  service,  all  that  was 
available  was  a  part  of  the  Swell  and  Choir  organs,  and  the  pedal  pipes. 
Dr.  Hodges  was  powerless,  and  had  great  difficulty  in  keeping  on  any 
kind  of  terms  with  Mr.  Erben,  who  was  not  always  pleasant,  and  al- 
ways determined  to  have  his  own  way  and  act  as  he  pleased. 

By  September  the  organ  was  really  finished;  and  on  October  7th 
and  8th  an  exhibition  of  it  was  given  by  Erben,  for  which  the  Vestry, 
with  some  reluctance,  gave  permission.  On  this  occasion  the  follow- 
ing organists  performed:  Greatorex,  of  St.  Paul's;  Loder,  of  Grace 
Church;  Timm,  of  the  Church  of  the  Messiah;  W.  A.  King,  of  St. 
Peter's  (Roman  Catholic);  C.  D.  Judah,  of  Calvary;  Caird,  of  St. 
Stephen's;  Phillips,  of  St.  Thomas;  W.  Rolfe,  of  London;  W.  Shack, 
from  Berlin;  A.  A.  Wheeler,  of  Albany;  S.  Jackson,  of  St.  Bartholo- 
mew's; Carrington,  of  Dr.  Hutton's  Church;  Kingsley,  of  Brooklyn; 
Peter  Erben,  then  the  oldest  organist  in  the  city;  Harrison,  Beames, 
Speipegger,  Lasar,  Elder,  Father  Heinrich,  and  J.  H.  Cornell,  then 
eighteen  years  of  age,  and  a  pupil  of  Dr.  Hodges.  The  organist  of 
the  Church  was  not  present,  and  was  not  even  invited  to  take  part. 

The  New  York  Express  of  the  following  day  criticised  the  pro- 
ceedings severely.    It  said: 

"  Here  now  is  Trinity  Church,  open  seven  days  in  the  week.  .  .  . 
Here  is  an  organ  in  the  Church,  which  every  Sunday  is  played  upon 
magnificently  by  one  of  the  best  organists  in  the  country.  Here  are  a 
dozen,  more  or  less,  organists,  most  of  them  residents  of  this  city,  and 
every  seventh  day  playing  organs  in  the  different  churches.from  Bloom- 
ingdale  to  Bowling  Green.  Two  days  are  named  when  this  church 
shall  be  opened,  and  this  organ  shall  be  played,  and  all  these  organists 
shall  play  it,  and  such  a  continuous  procession  down  Broadway,  and 
such  a  suffocating  jam  at  the  gates  of  the  church,  and  such  a  rush, 
when  they  are  opened,  into  the  body  of  the  church,  and  such  a  buzz 
and  a  chatter,  and  a  running  about,  up  the  pulpit  stairs,  into  the  vestry, 


Appendix  301 

and  over  the  barriers  of  the  chancel,  were  never  seen  before.  .  .  . 
The  solemn  aisles  and  high-arched  nave  of  that  beautiful  temple 
have  been  resounding  with  noisy,  boisterous  laughter,  and  idle  jesting; 
while,  upon  the  glorious  organ,  that  sublime  achievement  of  genius 
.  .  .  have  been  performed  arias  from  'Robert  le  Diable,'  marches 
from  the  military  bands,  and  waltzes  from  the  ballroom.  These  were 
interspersed  with  chromatic  improvisations,  and  complicated  fantasias, 
and  voluntary  variations  on  popular  airs,  or  perhaps,  here  and  there, 
a  Kyrie  from  a  Mass  or  a  fugue  from  an  opera." 

The  Boston  Musical  Gazette  said: 

"Obtaining  entrance  to  the  church,  we  found  that  the  organ 
was  in  full  blast,  and  the  audience  in  full  march,  examining  the  various 
parts  of  the  building,  most  being  busily  engaged  in  conversation  upon 
various  topics,  with  only  here  and  there  a  group  listening  to  the  organ. 
We  remained  about  an  hour,  during  which  time  we  estimated  that  the 
audience  was  entirely  changed  more  than  once.  Two  or  three  different 
organists  played  while  we  were  present,  but  did  neither  themselves 
nor  the  organ  much  credit." 

Apparently  every  organist  within  reach  was  invited  to  play,  with 
the  notable  exception  of  the  organist  of  the  church ;  and  the  quality 
of  the  performances  must  have  varied  considerably.  Admission  was 
by  tickets  gratuitously  distributed;  and  it  was  shown  by  those  re- 
ceived at  the  door,  that  17,939  persons  attended  during  the  two  days. 

The  American  Institute  fair  was  held  in  October,  and  Erben  ap- 
plied for  an  examination  of  the  new  organ.  A  committee  was  accord- 
ingly appointed,  consisting  of  Messrs.  Loder,  Timm,  Greatorex,  King, 
and  U.  C.  Hill. 

Their  report  commended  the  beauty  of  the  stops  throughout, 
especially  the  diapasons,  and  the  workmanship  in  general;  but  ob- 
jected to  the  "thin  brass  wire  pedals"  as  "unpleasant  to  the  foot  and 
unmanageable  in  every  respect,  and  an  innovation  of  no  possible 
benefit."  The  large  number  of  couplers  was  condemned  as  of  no 
real  value,  and  increasing  the  weight  of  the  "touch";  and  the  propor- 
tion of  "mixture"  in  the  Great  organ  was  criticised. 

As  a  result  of  this  report,  a  gold  medal  was  awarded  to  Mr.  Henry 
Erben,  "for  the  superior  tone  and  workmanship  of  the  organ  in 
Trinity  Church,  being  the  largest  and  most  perfect  specimen  of  work 
exhibited  in  this  country." 


302  Trinity  Church,  New  York 

In  this  transaction,  Dr.  Hodges,  much  to  his  mortification,  was 
entirely  ignored;  and  published  in  the  newspapers  a  card,  claiming 
a  share  of  credit  for  the  organ,  and  protesting  against  some  features  of 
the  report.  The  five  musicians  who  had  signed  the  report,  replied 
rather  contemptuously  in  another  card,  declining  to  go  any  farther  into 
the  matter.  Dr.  Hodges'  cause  was  taken  up  by  a  writer  in  the 
Evening  Mirror  (Mr.  S.  Maynard,  a  member  of  Trinity  Church  choir), 
who  signed  himself  "Fair  Play."  This  gentleman  claimed  that  the 
report  was  one-sided  and  unfair,  inasmuch  as  it  eulogized  all  the  work 
done  by  Mr.  Erben,  and  condemned  every  feature  which  emanated 
from  Dr.  Hodges.  The  writer  went  on  to  assert  that  the  diapasons 
were  not  well  voiced,  and  that  the  reeds  were  bad. 

With  regard  to  some  of  these  points,  it  may  be  stated  here  that 
Dr.  Hodges,  when  certifying  officially  to  the  Vestry  the  completion  of 
the  organ,  made  certain  reservations.  The  Doctor  gives  it  as  his 
opinion  that  the  bass  reeds  would  have  been  of  superior  quality,  if 
imported  from  Europe;  also  that  the  effect  of  the  largest  pedal  pipes 
was  not  satisfactory,  although  great  pains  had  been  taken  to  elicit 
the  desired  effect.  He  concludes  thus:  "Notwithstanding  these  draw- 
backs, I  cheerfully  testify  my  belief  that  the  organ,  taken  as  a  whole, 
is  a  highly  satisfactory  instrument,  yet  capable  of  improvement 
hereafter." 

Additions  since  made  have  removed  beyond  question  any  undue 
preponderance  of  "mixtures";  and  the  brass  pedals  were  long  ago 
condemned  and  removed.  It  was  certainly  hardly  possible  to  play  on 
the  organ  with  all  the  couplers  connected,  as  the  "touch"  was  enor- 
mously heavy ;  this  difficulty  is  now  done  away  with  by  the  pneumatic 
action,  inserted  in  1885.  The  criticisms  of  the  American  Institute 
Committee  were  therefore  not  entirely  groundless;  but  their  report 
must  still  be  considered  one-sided  and  unjust,  in  withholding  any 
credit  from  the  designer  of  the  instrument. 

In  December,  Dr.  Hodges  gave  a  private  exhibition  of  the  organ, 
which  drew  from  one  of  his  auditors  the  following  tribute  to  the  organ 
and  performer: 

"  On  the  playing  of  Trinity  Church  organ  by  Dr.  Hodges,  Decem- 
ber 14,  1846. 

'Tis  the  peal  of  the  thunder  o'er  valley  and  hill, 
The  roar  of  Niag'ra — the  murmuring  rill, 


Appendix  303 

The  soft  sounds  of  heaven — the  rumblings  of  hell, 
The  wild  lion's  roaring — enchantment's  sweet  spell; 
The  conflict  of  armies — the  soft  sounding  lute, 
The  maniac's  roaring — the  whispering  mute. 
The  roaring  of  ocean — the  soft  cooing  dove, 
The  whirlwind's  commotion — the  zephyrs  of  grove. 

"John  R.  St.  John." 

The  total  cost  of  the  organ  was  $10,501.72,  which  was  thus  made 

up: 

Price,  according  to  contract  ....     $6,300.00 
Extra  charge,  for  loss  occasioned  by  inter- 
ruption of  work 


Extra  charge  for  loss  on  contract 
Price  of  case,  by  contract 
Extra  charge,  for  extra  work 


270.00 
1,500.00 
2,000.00 

43!-72 

510,501.72 


This  did  not  include  cost  of  choir  organ  case ;  an  item  of  which  I 
can  find  no  account.  The  tuning  and  care  of  the  organ  were  left  in 
the  hand  of  Erben,  at  $60  a  year;  notwithstanding  a  strong  remon- 
strance from  Dr.  Hodges. 

1852.  July.  Erben  called  attention  of  the  Vestry  to  the  necessity 
for  cleaning  the  organ,  "a  troublesome  undertaking,  which  would 
require  six  weeks,"  stating  that  plaster  had  fallen  from  the  ceiling  into 
the  pipes.  The  matter  was  referred  to  Dr.  Hodges  who  reported 
adversely,  and  complained  that  the  regular  tunings  were  not  properly 
attended  to. 

1855.  $51.42  was  paid  "for  altering  pedal  keys  and  action"; 
but  there  is  no  record  of  the  nature  of  the  alterations.  The  new  pedal 
board  was  not  made  until  twelve  years  later. 

1858.  After  twelve  years'  use,  the  organ  was  cleaned  and  put  in 
order,  at  cost  of  $800. 

In  1866  I  became  organist,  and  the  matter  of  improving  the  organ 
was  soon  taken  up,  with  the  result  that  in  April,  1867,  a  proposal 
by  Mr.  Erben  for  cleaning,  repairs  and  additions,  with  specification 
and  estimate  of  cost,  was  communicated  to  the  Vestry  by  the  Rector. 
The  cleaning  and  repairs  were  authorized,  and  $1,000  appropriated 
for  the  purpose;  while  the  subject  of  additions  was  referred,  for  con- 
sideration.    In  July  the  additions  were  sanctioned  and  $3,000  ap- 


3°4  Trinity  Church,  New  York 

propriated,  including  the  former  grant,  for  the  whole  work,  which 
was  to  be  carried  out  according  to  the  specification  submitted  in  April. 
The  work  so  authorized  was  as  follows: 

i.  Cleaning  and  tuning. 

2.  Altering  pedal  pipes,  by  reducing  size  of  lower  octave. 

3.  New  pedal  board,  thirty  keys;  with  new  pipes  for  the  additional 
keys. 

4.  A  few  new  pipes,  in  Great  organ  Trumpet,  to  replace  defective 
ones. 

5.  Straightening  choir  organ  box  at  the  back,  and  Bassoon  pipes 
to  correspond. 

6.  Solo  organ,  entirely  new — five  stops  with  two  spare  slides. 

yEolina 16  feet 

Horn  diapason 8    " 

Melodia 8    " 

Gamba 8    " 

Harmonic  flute 4    " 

These  alterations  and  additions  were  of  great  importance,  and 
largely  increased  the  resources  and  capabilities  of  the  organ.  The 
new  pedal  board  of  full  modern  compass  and  ordinary  pattern  was 
alone  a  great  gain.  The  pedal  pipes  were  reduced  in  size,  and  made 
to  speak  more  promptly  and  effectively;  previously,  the  pipes  below 
F  were  very  ineffective;  they  could  hardly  be  heard  or  felt  and  the 
whole  set  was  irregular  and  uneven  in  tone.  The  mellow  and  rich 
stops  of  the  new  solo  organ  increased  the  solidity  and  impressive 
effect  of  the  full  organ,  besides  affording  many  new  combinations  and 
special  effects. 

While  the  tuning  was  going  on,  Mr.  Erben  thought  it  advisable 
to  raise  the  pitch  of  the  entire  organ,  and  proceeded  to  do  so,  though 
it  had  not  been  authorized.  This  coming  under  the  notice  of  the  Rector 
was  reported  to  the  Vestry,  who  thereupon  peremptorily  stopped  the 
whole  work.  After  much  discussion  and  negotiation,  Erben  had  his 
way;  the  change  of  pitch  was  permitted  by  the  Vestry,  and  the  entire 
work  was  paid  for  with  an  additional  $3,000,  in  December,  1868. 
Screws,  to  regulate  the  action,  were  also  supplied  on  each  manual. 
The  raising  of  the  pitch  seemed  at  the  time  to  be  desirable;  it  was 
so  low  that  I  was  in  the  habit  of  transposing  much  of  the  music  sung, 
a  half  or  a  whole  tone  upward.  Since  that  time,  the  standard  or- 
chestral pitch  has  been  lowered;  and  when  an  orchestra  is  employed, 


Appendix  305 

a  difficulty  occurs  which  is  surmounted  by  the  "  wood  wind"  musicians 
using  their  old  instruments. 

In  the  summer  of  1874,  seven  years  later,  the  organ  was  again 
cleaned,  and  further  changes  and  additions  made,  as  follows: 

Cornopean,  8  feet,  in  solo  organ,  all  new. 

Clarion,  4  feet,  removed  from  swell,  and  inserted  in  solo 

organ ;  with  new  pipes  for  lowest  octave,  to  complete  the 

compass. 
Vox  humana,  new,  in  swell;  in  place  of  clarion,  removed. 
Tremulant,  new,  in  swell. 
Serpent  (or  trombone)  in  swell  bass  revoiced,  with  new 

tongues. 
Diapasons  and  Principals  in  great  organ,  revoiced. 
For  this  work  the  sum  of  $1,500  was  paid. 

In  this  condition  the  organ  remained  until  1885.  So  far,  no 
alterations  had  been  made  in  the  action  or  mechanical  part,  excepting 
the  removal  of  Dr.  Hodges'  pedals.  The  "touch"  of  the  organ,  when 
the  manuals  were  combined,  was  exceedingly  heavy ;  and  the  arrange- 
ment of  the  manuals  and  draw  stops  about  as  awkward  as  possible. 
To  the  performer  it  was  truly  an  organ  "of  magnificent  distances"; 
only  to  be  controlled  by  long  arms  and  iron  muscles.  Of  the  many 
ingenious  modern  inventions  for  relieving  and  assisting  the  player,  there 
was  nothing.    Now  something  was  at  last  to  be  done  in  this  direction. 

In  1885  the  care  of  the  organs  was  in  the  hands  of  the  Roosevelt 
firm,  which  then  stood  at  the  head  of  the  organ-building  business,  a 
position  long  occupied  by  Erben.  Hilborne  L.  Roosevelt  was  one 
of  the  most  ingenious  inventors  and  scientific  experts  of  the  day,  in 
organ  construction;  and  the  time  was  opportune  for  at  least  a  partial 
modernizing  of  the  mechanical  work  in  our  organ.  A  proposition  was 
submitted  to  the  Vestry,  with  estimates,  for  new  keyboards  and  other 
improvements;  this  was  accepted,  and  ordered  to  be  carried  into  effect. 

The  organ  was  consequently,  during  the  summer,  provided  with 
new  keyboards  and  keys;  the  former  being  of  the  pattern  usual  now 
in  large  organs,  beveled  off  and  overlapping;  thereby  bringing  the 
four  manuals  within  easy  reach,  and  enabling  the  hands  to  be  changed 
from  one  manual  to  another  without  a  break  in  the  sound.  The 
draw-stop  panels  were  changed  to  a  diagonal  position,  and  the  stops 
themselves  made  to  draw  toward  the  performer.  Pneumatic  action 
was  applied  to  the  great  organ  keys,  and  couplers;  the  pedal  keys 


306 


Trinity  Church,  New  York 


were  put  into  better  condition;  the  bellows  repaired,  and  seven  com- 
bination pedals  inserted,  three  acting  on  the  great  organ,  two  on  the 
swell,  and  two  on  the  pedal  keys. 

The  next,  and  latest,  improvement  to  the  organ  was  made  in  the 
summer  of  1889,  when  a  C.  and  C.  electric  motor  of  three  horse  power 
was  applied  to  the  bellows.  The  motor  is  self-regulating,  and  a  most 
convenient  appendage. 

At  the  same  time,  new  pipes  were  supplied  to  most  of  the  reed- 
stops  by  Messrs.  Odell,  who  from  this  time  took  charge  of  the  tuning, 
etc.  Complaints  had  been  incessant  of  the  condition  of  the  reeds, 
which  could  not  be  kept  in  tune  for  an  hour.  With  the  exception  of 
two  sets,  all  had  been  in  use  since  1846,  and  were  quite  worn  out; 
the  necessity  for  this  renewal  was  imperative,  and  the  improvement 
was  very  noticeable.  The  following  stops  were  supplied  with  new 
reeds  and  pipes: 

Great  organ.     Trumpet  from  CC,  lowest  octave  repaired. 

"  Clarion,  entire. 

Solo  organ.     Cornopean,  entire. 

"  Clarion,  entire. 

Choir  organ.     Clarinet  and  bassoon,  entire. 

A  specification  of  the  organ  as  it  now  stands  (1897)  is  appended: 
with  dates,  showing  the  age  of  the  various  sets  of  pipes.    . 


Great  Organ 
CCC  to  F,  66  keys  and  pipes 

1.  Open  diapason      ]  £     1846 

2.  Open  diapason       j  g. 

3.  Stopped  diapason  f  g_ 

4.  Principal  |  3, 

5.  Principal  J  2 

6.  Flute,  4  feet  . 


10. 

11. 
12. 


Twelfth  . 
Fifteenth 
Sesquialtera, 

12,  15,  17 
Mixture,   3 

19,  22 
Trumpet 
Clarion  . 


3  ranks, 
ranks,  17, 


1846 
1846 
1846 
1846 
1846 
1846 
1846 


1846 

1846 
1889 
1889 


Swell 

Keys,  CCC  to  F  altissimo    .       78 
Pipes,  tenor  C  to  F  altissimo,      54 

Bordun  ....  1846 
Dulciana  .  .  .  1846 
Open  diapason  -  .  1846 
Stopped  diapason  .  1846 
Principal  .  .  .  1846 
Cornet,  5  ranks,  12  to  22  1846 

1846 
1846 
1874 


13- 

14. 

*5- 

16. 

i7- 
18. 

19.  Oboe 

20.  Trumpet 

21.  Voxhumana 


Swell  Bass  outside  of  the  Box 

CCC  to  Tenor  C,  25  pipes 

Dulciana        .       .       .   1846 
Serpent  ....   1846 

Revoked   1874. 


Appendix 


307 


Choir  Organ 


Keys,  CCC  to  F   . 
Pipes,  CC  to  F     . 

22.  Stopped  diapason 

23.  Dulciana 

24.  Flute,  4  feet    . 

25.  Principal 

26.  Fifteenth 

27.  Clarinet  and  bassoon 

Pedal 
Keys,  CCC  to  F    . 
Pipes 

35.  Open  diapason,  32  feet, 


Remodeled  1867. 


66 

54 

1846 
1846 
1846 
1846 
1846 
1889 


30 
42 

1846 


Solo  Organ 
CC  to  F.  Keys  and  pipes 

28.  Molina,  16  feet 

29.  Horn  diapason 


3°- 
31- 
32. 
33- 
34- 


Melodia 
Gamba 


Harmonic  Flute,  4  feet  1867 


Cornopean 
Clarion 


54 
1867 
1867 
1867 
1867 


1889 
1889 


Couplers,  etc.,  1846 


Great  to  pedal,  unison. 

Great  to  pedal,  octave. 

Swell  to  pedal. 

Choir  to  pedal. 

Solo  to  pedal. 

Swell  to  great,  unison. 

Swell  to  great,  octave. 


Choir  to  great. 
Solo  to  great. 
Swell  to  choir,  unison. 
Swell  to  choir,  octave. 
Pedal,  octave. 
Tremulant  to  swell.1' 


Combination  pedals,  1885 


Great  to  pedal. 

Great  to  pedal  off. 

Full   swell,  without   Vox  hu- 

mana. 
Swell,  Diapason,  and  Dulciana. 


5.  Great   organ,  Diapasons  and 

Flute. 

6.  Great  organ  to  Mixture. 

7.  Great  organ  to  Full. 


Pneumatic  action,  on  Great  organ  and  couplers 
C.  and  C.  electric  motor 


•   1885 
.   1889 


Pipes  in  Great  organ 1,056 

Pipes  in  Swell  organ 752 

Pipes  in  Choir  organ 324 

Pipes  in  Solo  organ 378 

Pipes  in  Pedal  organ 42 


Total  of  pipes 2,552 


308  Trinity  Church,  New  York 

This  specification  compares  unfavorably,  on  paper,  with  that  of 
many  organs  in  this  city.  Probably  no  two-manual  organ  could  be 
found  without  at  least  two  stops  in  the  pedal;  our  little  Chancel  organ 
has  two;  the  organs  at  St.  Paul's,  St.  John's  and  Trinity  Chapels 
have  from  five  to  seven.  A  swell  organ  of  nine  stops  with  a  bass  to 
only  two  of  them,  and  that  not  homogeneous,  would  be  equally  difficult 
to  discover.  Short  swells  were  common  in  England  sixty  years  ago; 
but  since  the  development  of  the  arts  of  organ  building  and  organ 
playing,  the  rule  has  been  that  every  stop,  with  rare  and  well  under- 
stood exceptions,  should  extend  through  the  entire  compass  of  the 
keys. 

Notwithstanding  these  drawbacks,  it  is  undeniable  that  the  effect 
of  the  organ  on  a  listener  is  grand  and  impressive ;  more  so  than  that 
of  many  a  better  planned  organ.  It  is  hard  to  persuade  the  uninitiated 
that  anything  is  wanting,  or  that  the  organ  could  be  improved,  or 
indeed  that  a  better  organ  is  possible. 

This  fine  and  impressive  effect  is  due,  in  my  opinion,  to  four  causes ; 
namely : 

i.  The  large  scale  of  the  pipes  generally. 

2.  The  large  area  occupied  by  the  organ,  and  the  amount  of  space 
above,  which  allows  the  pipes  to  vibrate  freely,  and  the  primary  and 
partial  tones  to  blend  harmoniously  before  they  are  thrown  out  into 
the  church. 

3.  The  fine  acoustic  properties  of  the  building  itself. 

4.  The  voicing  of  the  pipes,  and  very  small  proportion  of  Gambas 
and  other  stops  of  a  reedy  or  stringy  timbre. 

The  fashion  of  the  day  in  organs  runs  very  much  to  orchestral 
stops;  even  the  diapasons,  the  basis  of  the  organ  tone,  are  voiced  to 
produce  a  stringy  quality  of  sound.  It  was  said  of  the  large  organ, 
by  Walcker,  which  used  to  stand  in  Boston  Music  Hall,  that  it  was 
so  full  of  gambas  and  free  reeds  that  it  sounded  like  a  huge  harmonium. 

Our  organ  is  voiced  on  old  English  methods;  and  I  have  resisted, 
more  than  once,  a  proposal  on  the  part  of  the  builder  to  change  the 
character  of  one  of  the  diapasons.  In  consequence  we  enjoy  the  rich, 
mellow  tone,  peculiar  to  the  old  cathedral  organs;  we  have  few 
modern  devices,  but  we  have  fine  tone.  May  this  characteristic  be 
retained,  when  the  inevitable  time  comes  for  remodeling  the  whole 
instrument. 


Appendix  309 

The  small  organ  in  the  Chancel  was  built  in  1864  by  the  firm  of 
Hall  and  Labagh.  It  was  intended  for  choir  accompaniment  only, 
and  the  original  specification,  which  has  not  been  changed,  was  as 
follows: 

Great  (or  Choir)  Organ  Swell  Organ 

CC  to  G,  56  notes.  Same  compass. 

1.  Open  diapason.  8.  Bordun,  from  tenor  C. 

2.  Melodia,  stopped  diap.  bass.      9.  Open   diapason,    lowest   oc- 

3.  Gamba,  treble  and  bass.  tave  of  wood. 

4.  Flute,  4  feet.  10.  Dulciana. 

5.  Principal.  11.  Principal. 

6.  Fifteenth.  12.  Cornet,  3  ranks,  12,  15,  17. 

7.  Trumpet.  13.  Oboe. 

Pedal  Organ  Couplers 

CC  to  E,  29  keys.  Choir  t0  pedaL 

14.  Bordun.  Swell  to  pedal. 

15.  Violoncello.  Swell  to  great,  unison. 

Swell  to  great,  octave. 

Pipes  in  choir  organ 392 

"     in  swell  organ 448 

"     in  pedal  organ 58 

Total  pipes 898 

This  organ  is  perhaps  sufficient  for  accompaniment  to  a  small 
choir,  but  is  deficient  in  deep  tones.  There  is  not  space  in  the  organ 
chamber  for  pipes  of  any  size;  and  the  larger  pipes  are  in  the  case 
which  projects  into  the  chancel,  not  any  exceeding  eight  feet  in  length. 

New  action  and  new  keyboards  were  inserted  in  January,  1882; 
and  new  pipes  have  been  supplied  to  the  choir  organ  Trumpet.  It  is 
blown  by  a  C.  and  C.  electric  motor  of  one  horse  power. 


APPENDIX    C 

MEMBERS    OF   TRINITY   CHURCH   CHOIR,    FROM   ITS 
FIRST   ORGANIZATION   BY   DR.   HODGES 

Ladies 


1846. 

Mrs.  Bourne 

1852. 

Mrs.  Dayas 

Mrs.  Gillelan 

i853- 

Miss  E.  Robjohn 

Miss  Hodges 

Miss  G.  Berrian 

Miss  Sinclair 

Miss  J.  H.  Wood 

1847. 

Mrs.  Bernard 

Miss  Gellie 

1848. 

Mrs.  Macfarren 

Miss  M.  Gellie 

1849. 

Madame  M  tiller 

i855- 

Miss  Mauross 

1850. 

Mrs.  Forrest 

Mrs.  Broconc 

1852. 

Miss  Goodwin 

Miss  Bagley 

Miss  E.  Goodwin 

Mrs.  Hutchings 

Miss  Wray 

Mrs.  Wooster 

Miss  A.  Thomas 

Miss  Eager 

Boys 
L.  Leader.    R.  Afterwards  in  Holy  Orders.    S.  Soloist.    O.  Afterwards  organist. 


1844.  Joseph  S.  Hanford 
Peter  T.  Swayne 
Jas.  Van  Zandt 
Wm.  Forbes 
Edward  Ball 
Jas.  McLaren 
Chas.  McLaren 
Edward  Raymond 
Elias  G.  Drake,  S. 
Henry  Hows 

1846.  W.  W.  Meiggs 


1846.  Jas.  W.  Braine 
Henry  McLaren 
Thomas  Walter 
J.  Clarence  Sidell 
Robert  Walker 

1847.  W.  G.  Farrington,  R. 
John  F.  Mines 

1849.  J.  H.  Ridner 

D.  L.  MaUison 

J.  H.  H.  De  Mille,  R. 

E.  Donaldson 


310 


Appendix 


3ii 


1849.  W.  Terhune 
J.  Outcalt 
H.  Donaldson 
Henry  Hinton 
G.  Ferguson,  R. 
J.  Dean 
C.  Bostwick 
C.  Walker 
H.  Fanning 
W.  D.  Walker,  R.  R. 
J.  Whiting 
F.  G.  Maeder 
W.  J.  Hall 
Arthur  Quartley 
C.  Outcalt 

H.  E.  Browne,  L.  O. 
E.  E.  Sellew 
E.  W.  Maeder 
J.  Van  Boskerck 
J.  V.  Lewis 
W.  Ashkettle 
—  Drake,  junior 
W.  Hull 

Jardine,  brothers 
Loder,  brothers 
W.  Blake 
W.  Wainwright 
(Dr.  Cutler,  organist) 
W.  J.  Robjohn,  L.  O. 

1858.  Thomas  Brown 
W.  B.  Ogilvie 
W.  H.  Gamble 
J.  H.  Brown 

C.  H.  R.  Gamble 
Chas.  Miiller 

1859.  C.  H.  Ackerman 
H.  Walker 
Thos.  P.  Browne 


1859.  J.  A.  Denniston 
Horatio  Browne 
Alfred  Hutchings 
A.  R.  Walsh 
Miron  Ward,  L.  O. 

—  Morgan 
W.  Camp 
F.  Camp 
S.  Howard 

W.  C.  Hubbard,  S.  R. 
J.  Hopkins,  S. 

—  Martin 
i860.  James  Little,  S. 

—  Clark 

H.  W.  Collins 

—  Powell 
George  Ward 

1 86 1.  Lewis  Child 
W.  Fernandez 

F.  J.  Gamble 
H.  Kohn 
Lewis  D.  Dunn 
Cullen  P.  Grandin,  S. 
Percy  Healey 

C.  O'Reilly 

N.  E.  Westfall,  S. 

—  Allen 

1862.  Th.  Toedt,  S. 

—  Jameson 

G.  W.  Macmillan 

—  Thomas 

—  Intropidi 

G.  O.  O'Reilly,  L. 
Emil  Ehrlich,  S. 
Arthur  W.  Watson 

—  French 

—  Stuyvesant 
1864.  J.  Meigs 


312 


Trinity  Church,  New  York 


1864.  —  Graham  1867. 
E.  Pratt 

Richard  Coker,  S. 
Edward  Ehrlich,  L. 

E.  Knowles,  L.  1868. 

—  Ingalls 
G.  Ellard,  S. 

—  Tighe 

F.  G.  Bourne 
J.  S.  Weir 

—  Busche 

T.  Gorton  Coombe 

1865.  —  Olmsted 

—  Olliphant 

—  Hunt  1869. 
A.  Arthur,  O. 

F.  Gamble 

—  Phelps 
J.  Rietzel 

(W.  A.  M.  Diller,  organist) 
J.  Summers,  L. 

E.  A.  Petit  1870. 
H.  Bryan 

F.  Clayton,  R. 

G.  Montgomery 
H.Lee 

(4.  H.  Messiler,  organist)      1871. 

1866.  James  Fair 
John  Fair,  R 
T.  H.  Barry 

G.  W.  Raeburn,  S. 

J.  M.  Knapp,  S.  L.  O. 

J.  Hartmann  1872. 

J.  Yenter 

J.  Cairns 

1867.  Edward  Lindig,  L. 
Norbert  R.  Ward,  O. 
S.  Cable 


H.  Grieshammer 
Schuyler  Walden 
F.  Muller 
George  Schmitt 
J.  Campbell 
T.  R.  S.  Connell 
J.  C.  E.  Von  Arx 
Thomas  O'Reilly 
W.  J.  Coles 
A.  Schober 
H.  Cawthorn,  R. 
F.  Hallock,  L. 
K.  Cranford 
Henry  Woodcock 
John  Finger,  L. 
James  Reed,  S. 
A.  Livingston,  S. 
J.  Miller 
L.  Peyroux 
Joseph  Barry 
J.  Livingston 

F.  W.  Thursch,  O. 
Emil  Haberkom,  L. 

G.  Steinwedell 
G.  W.  Bowne,  R. 
W.  Hardy 

W.  Bishop 
E.  B.  Schmitt,  R. 
T.  J.  Gleason 
John  Myrth 
Charles  Diehl 
John  Bishop,  L. 
Victor  Baier,  L.  O. 
R.  Zingsheim,  O. 
George  Gough 
Henry  Siemon 
Gideon  L.  Drew 
Charles  Rogner 


Appendix 


3*3 


1873.  J.  Pickslay,  L.  S. 
Otto  Beylick 

W.  OttiweU 
Charles  Walter 
J.  L.  Irvine,  S. 
Morris  Keller,  L.  O. 
R.  W.  Terry,  S. 
Charles  Baker 
Henry  Leidel,  S. 

1874.  W.  Haven 

H.  Bernard  Coombe,  L.  S. 
James  H.  Ward,  S. 
J.  Shecker 

1875.  Charles  Vollmer 
R.  Baier 

Paul  Stucke,  L. 

Charles  Dopf 

E.  Arnoux 

A.  E.  Crawford 

Russell  T.  Joy 

Victor  Smedley 

Warren  R.  Hedden,  S.  O. 

1876.  Herman  Joy 
A.  D.  Bright 

J.  G.  McGrayne 
J.  C.  McGrayne 
W.  R.  Jones 
Charles  Baier,  O. 
A.  Menicke 
Henry  L.  Case,  L.  S. 
Paul  Kemble 

1877.  Oscar  Schmitt,  L. 
Thos.  J.  Handforth 
James  S.  Hedden,  L. 
G.  Hilsenbeck 
James  J.  Wells 

H.  Faucon 

W.  J.  Caulfield,  L.  S. 


1878.  Albert  Hicks 
Johnson  Sage 
Thomas  Adams 
Charles  Honig,  S. 
H.  S.  Quick,  S. 

1879.  W.  B.  Dunham,  S. 
Robert  Alberts 

A.  Worthington 
George  W.  Morgan 
Godfrey  Morgan 
J.  Sydney  Adams 
E.  H.  Pelletreau,  S. 

1880.  John  Thompson 

E.  B.  Dunham 
Alanson  Hedden 
H.  N.  Dunham 
C.  Kammerer 

F.  Alberts 

R.  O.  Irvine,  L. 
George  Brown 
Harold  Thorne 

1 881.  Frank  Fruttchey,  S.  O. 
Frank  Howden,  R. 

S.  Richardson,  L. 

1882.  G.  L.  Norris 
Albert  Moyer 
Herbert  Owens 

H.  F.  N.  Von  der  Heide,  S. 
Herbert  Reid 
Harry  Reilly,  L.  O. 
Eugene  Eisert 
Howard  W.  Knapp,  S. 
Julius  Baier,  S. 
W.  Caulfield 

1883.  Dawson  McGrayne 
Albert  Ford,  L.  S. 
A.  Von  der  Heide 
George  Eddy 


3H 


Trinity  Church,  New  York 


1884. 


1885. 


1886. 


1883.  Arthur  Kennedy 

E.  Hopson 
Charles  Belling,  L. 
Harry  Connor 
Eugene  Hicks 
John  Knieff 
John  Kerr 
Frank  Carland,  S. 
Frank  Kinney 
Camille  Gavey 
W.  Walkinshaw 
Reginald  Jaffray 
Charles  Meux 
A.  E.  Vedder 
Dudley  Walke 
Arthur  L.  Brown,  L. 

F.  Richardson 
W.  H.  Browne,  O. 
Howard  Long,  S. 
S.  McAlpin 
R.  Baughan 
Thos.  P.  Browne 
Culbert  McGay 
John  Goodridge,  S. 
Howard  M.  Jaffray,  S. 
Bertram  L.  Brown 
H.  E.  Boucher 

G.  S.  Trimble,  S. 
W.  M.  Doran 
H.  E.  Link 

H.  L.  Dunkinson 
C  W.  Dewes 

A.  L.  HoUand 
D.  J.  Charters 
H.  B.  Neesen,  S. 

B.  H.  Old,  L.  S. 
G.  W.  Retz 

1889.  H.  A.  Littlejohn 


1887. 


1889.  A.  M.  Messiter 
Howard  P.  Ball 
Frank  W.  Riker,  S. 
Lee  M.  Bingham 

F.  W.  Glanzmann,  S 

1890.  H.  S.  Carland,  S. 
W.  M.  Reed 

R.  Thompson 
H.  A.  Counsellor 
W.  Bainbridge 
C.  E.  Forster 

1891.  G.  S.  O'Reilly 

R.  G.  Simpson,  S. 

G.  A.  Hampton 
P.  R.  Curtis 
Eugene  C.  Knapp,  S. 
J.  Harold  Knapp,  S. 

1892.  George  F.  de  Zeller 
J.  Walter  Till 

1893.  Henry  F.  Moller 
George  A.  White 
Robert  H.  Chandless 
Charles  F.  Hoffman 

1894.  J.  Austin  Davett,  S. 
Heathe  Gregory,  S. 
Herman  W.  Albert,  S. 
George  R.  Griswold 
Helmuth  J.  Gaess 
William  L.  Devoe 
Charles  Ramsey 

1895.  B.  M.  Niebuhr,  L.  S. 
James  Donaldson 
Charles  Cullen  Roberts,  L. 
Edwin  B.  Burch 
George  H.  Heyn 
Valentine  A.  Ullmer 

C.  Roy  Haskell 

1896.  Charles  Clifton  Clerke,  S. 


Appendix 


3i5 


1896. 

Henry  M.  Mansell,  S. 

1896. 

Henry  C.  Reimer 

Robert  E.  Mansell 

August  F.  Gaess 

Henry  D.  Wyatt 

Victor  Mori 

Walter  R.  Wyatt 

Charles  W.  Coon 

Arthur  C.  Grannis 

1897. 

Emile  de  Planque 

George  J.  Johnstone 

Men 

E.  W.  Bunnett 

1846. 

Mr.  Crabb 

1858. 

Mr.  Brayton 

Mr.  A.  Kyle 

Mr.  White 

Mr.  Z.  M.  Clarke 

Mr.  H.  Camp 

Mr.  Jubal  Hodges,  R. 

Mr.  W.  Camp 

Mr.  J.  S.  B.  Hodges,  R. 

i860. 

Mr.  Chase 

Mr.  Demarest 

Mr.  Hall 

Mr.  Maynard 

Mr.  Mayer 

1848. 

Mr.  E.  M.  Pecke,  R. 

Mr.  Woodman 

Mr.  C.  K.  Safford 

- 

Mr.  Daniels 

Mr.  Johnson 

Mr.  Congdon 

Mr.  Conkey 

1 861. 

Mr.  Clark 

Mr.  Jones 

Mr.  Aiken 

Mr.  J.  W.  Good 

Mr.  Stanley- Jones 

1852. 

Mr.  Dean 

Mr.  Cole 

1853. 

Dr.  Roath 

1862. 

Mr.  Littel 

Mr.  B.  T.  Keath 

Mr.  Starkie 

Mr.  H.  Tucker 

Mr.  Meiggs 

Mr.  F.  Nash 

Mr.  Hubbard,  R. 

Mr.  J.  Cooke 

Mr.  T.  Brown,  R. 

1855- 

Mr.  Warre 

Mr.  Frisbee 

Mr.  Isaac  Safford 

Mr.  Farr 

Mr.  Hurley 

1863. 

Mr.  Widdows 

1856. 

Dr.  Guilmette 

Mr.  Giles 

Mr.  Browne 

Mr.  Tasney 

{Dr.  Cutler,  organist) 

Mr.  Long 

1858. 

Mr.  J.  W.  Hill,  R. 

Mr.  Knowles,  R. 

Mr.  Granville 

Mr.  O'Reilly 

Mr.  Peck 

1864. 

Mr.  Schmidt 

Mr.  Dunn 

Mr.  Rehberg 

316 


Trinity  Church,  New  York 


1864 

Mr.  Davies 

1871. 

Mr.  H.  Cross 

Mr.  Zorn 

Mr.  W.  E.  G.  Evans 

Mr.  Watson 

Mr.  J.  A.  Kamping 

Mr.  Weeks 

1872. 

Mr.  C.  Forster 

Mr.  Hardenburgh 

Mr.  Malm 

Mr.  Holmes 

Mr.  Fleming 

1865. 

Mr.  Mylrea 

Mr.  Sterling,  R. 

Mr.  HiU 

Mr.  J.  Zingsheim 

Mr.  Sweeney 

Mr.  E.  Lindig 

Mr.  Meux 

1873- 

Mr.  Morris  B.  Farr 

Mr.  Scott 

Mr.  W.  H.  Rawlins 

(W.  A.  M.  Diller,  organist) 

Mr.  A.  Livingston 

Mr.  Jackson 

1874. 

Mr.  C.  A.  McPherson 

Mr.  Yatman 

Mr.  T.  Wix 

Mr.  Bostwick 

1875- 

Mr.  H.  Price 

(A.  H.  Messiter,  organist) 

1876. 

Mr.  J.  Kreuttner 

1866. 

Mr.  A.  Matthison 

Mr.  W.  T.  Dey 

Mr.  Collins 

1877. 

Mr.  T.  J.  Wiltshire 

1867. 

Mr.  J.  H.  Place 

Mr.  T.  H.  Dear 

Mr.  J.  Q.  Graff 

Mr.  J.  Palmer 

Mr.  Dunkinson 

Mr.  Hewittson 

1868. 

Mr.  A.  G.  Wood 

Mr.  Joline 

Mr.  W.  H.  Morgan 

Mr.  W.  B.  Frisby,  R. 

Mr.  W.  Smedley 

1878. 

Mr.  J.  E.  Roberts 

Mr.  G.  B.  Goodall 

Mr.  E.  Devon 

1869. 

Mr.  J.  F.  Jowitt,  R. 

Mr.  A.  A.  Hayes 

Mr.  F.  Keppel 

1879. 

Mr.  H.  B.  Whitney,  R 

Mr.  F.  Remmertz 

Mr.  W.  McCully 

Mr.  H.  R.  Humphries 

Mr.  P.  J.  Steiner 

1870. 

Mr.  D.  Barron 

Mr.  J.  Pickslay 

Mr.  F.  Ramsey 

Mr.  A.  W.  Harrington 

Mr.  J.  M.  Knapp 

Mr.  Victor  M.  Osborn 

Mr.  J.  H.  Houghton,  R. 

1880. 

Mr.  G.  0.  O'Reilly 

Mr.  Moxon 

Mr.  W.  M.  Connell 

Mr.  E.  R.  Armstrong,  R. 

Mr.  John  E.  Bold,  R. 

1871. 

Mr.  D.  M.  Dewey 

Mr.  Mulford 

Mr.  A.  Schwickardi 

1 881. 

Mr.  Parker 

Mr.  T.  Gorton  Coombe 

Mr.  Munday 

Appendix 

317 

i88i. 

Mr.  E.  T.  Potter 

1888. 

Mr.  C.  S.  Phillips 

1882. 

Mr.  A.  P.  Grint,  R. 

Mr.  C.  K.  Coit 

Mr.  C.  A.  Decker 

1889. 

Mr.  H.  T.  Beach 

Mr.  E.  A.  Hopkins 

Mr.  G.  Allen 

Mr.  G.  N.  Messiter 

Mr.  G.  F.  Bingham 

Mr.  E.  B.  Sperry 

Mr.  A.  W.  Gay 

Mr.  C.  Wyllys  Betts 

1890. 

Mr.  C.  E.  Pollard 

1883. 

Mr.  F.  F.  Barnard 

Mr.  F.  W.  Smyth 

Mr.  S.  Wug 

Mr.  M.  R.  McDermid 

Mr.  J.  S.  Weir 

Mr.  Dudley  R.  Walke 

1884. 

Mr.  Frank  Crook 

1891. 

Mr.  A.  F.  Kennedy 

Mr.  W.  F.  Gunn 

Mr.  D.  B.  Pilch 

Mr.  H.  H.  Henry 

Mr.  G.  S.  Trimble 

Mr.  F.  F.  Boudinot 

Mr.  S.  G.  Smith 

Mr.  W.  F.  DeL.  Nichols, 

Mr.  G.  Marshall 

R. 

1893. 

Mr.  W.  E.  G.  Evans 

1885. 

Mr.  C.  W.  Shone 

Mr.  William  Heydt 

Mr.  G.  L.  Norris 

Mr.  Robert  Gibson 

Mr.  N.  Berkley  Wood 

Mr.  W.  J.  Foster 

Mr.  R.  H.  Edgar 

Mr.  John  M.  Fulton 

1886. 

Mr.  G.  Jacob 

1894. 

Mr.  Fred.  Rycroft 

Mr.  T.  Matthews 

Mr.  Frank  M.  Parker 

Mr.  F.  Kinney 

Mr.  C.  T.  0.  Mackie 

Mr.  A.  Codman,  R. 

Mr.  Charles  A.  Fischer 

Mr.  W.  H.  Janes 

1895. 

Mr.  Thomas  Bott 

1887. 

Mr.  G.  Thalberg 

Mr.  M.  H.  Smith 

Mr.  Philip  H.  Ward 

Mr.  W.  A.  Washburne 

Mr.  J.  B.  B.  Fiske 

Mr.  George  Herbert  Pat- 

Mr. L.  C.  Berrian 

terson 

Mr.  R.  F.  Armstrong 

1896. 

Mr.  Henry  Arden 

Mr.  H.  J.  Bowen 

Mr.  J.  McCombie  Murray 

Mr.  Arthur  Brown 

1897. 

Mr.  Oscar  B.  Thomas 

Mr.  G.  H.  Noxon 

Mr.  William  Drill 

APPENDIX    D 


LIST   OF   COMPOSERS 


With  Number  of  Their  Works  which  Have  Been  Sung  at 

Trinity  Church 


Tye  . 

Redford 

Tallis 

Farrant 

Gibbons 

Child 

Wise 

Rogers 

Creighton 

Aldrich 

Purcell 

Clarke 

V.  Richardson 

Weldon 

Croft 

King 

Kempton 

Greene 

Kent 

Travers 

Hayes 

Boyce 

Nares 

Arnold 

Jackson 


1 02  English 

2  Langdon 
1  S.  Smith  . 

1  Scott 

3  Blake 

2  Corfe 

1  Attwood  . 

1  Clark-Whitfeld 

2  Crotch     . 
2  Goss 

2  Hodges    . 

4  Wesley     . 
1  Smart 

1  Macfarren 

1  Walmisley 

8  Webbe     .       . 

3  Novello    . 

1  Pittman  . 

6  Sterndale-Bennett 

3  Elvey 

2  E.  J.  Hopkins 

2  Horsley    . 
10  Leslie     . 

6  E.  G.  Monk  . 

1  W.  H.  Monk  . 

3  Hiles 


1 
1 
1 
2 
1 
7 
9 
6 
12 

14 
10 
12 
11 
5 
3 

T 
I 

3 
6 

7 

3 
1 
2 

3 
6 


318 


Appendix 

319 

Steggall 3     Field 2 

Best 

.       5     Agutter    . 

1 

Ouseley 

7     Haynes    . 

4 

Calkin 

.     18     Selby 

.       6 

Reay 

4     G.  Carter 

1 

Garrett 

.     13     Crowe 

1 

Thome 

5     Redhead  . 

1 

Armes 

4     Cobb 

3 

Tours 

13     King-Hall 

2 

Barnby 

.     21      Dykes 

1 

Stainer 

18     Bennett   . 

2 

Gadsby 

4     Mann 

1 

Sullivan 

11      Stewart    . 

1 

Lloyd 

4     Bunnett  . 

1 

Haking 

1      Crow 

1 

Woodward 

2     Torrance 

1 

C.  Smith 

2     A.  H.  Messiter 

2 

Martin     . 

.     10     Roberts   . 

1 

Cowen     . 

1     S.  J.  Gilbert 

1 

Stanford 

5      Cruickshank  . 

1 

O.  King  . 

5      Bradford 

1 

Crow 

1      Foster 

2 

H.  J.  King 

3     West 

1 

Mackenzie 

1     F.  H.  Messiter 

1 

Barnes     . 

1      Jordan     . 

1 

Gilbert    . 

2     Gladstone 

1 

26  American 

Cutler 29     W.  Mason                                   1 

Walter     . 

3     Thayer    . 

1 

Tuckerman 

1     Hoffman 

1 

Rob  John  . 

1      White      . 

1 

Cornell    . 

7      Cross 

1 

J.  P.  Morgan 

4     Parker     . 

3 

Thunder 

1     Le  Jeune 

2 

Buck 

2      Baier 

1 

Gilchrist 

2     R.  H.  Warren 

1 

320 


Trinity  Church,  New  York 


Whitney  . 

Rev.  J.  S.  B.  Hodges 
Rev.  W.  H.  Cooke 
Rev.  H.  B.  Whitney 


i  Florio i 

5  Case 3 

1  Baker 1 

1  Dossert 1 


Bach 

Handel    . 
Haydn     . 
Mozart    . 
Beethoven 
Hummel . 
Spohr 
Schubert 
Mendelssohn 
Weber     . 


19  German 

3  Himmel  . 
27  Schumann 
24  Benedict . 
16  Niedermeyer 

4  V.  Lachner 

8  Hiller  . 
13  Andre" 

9  Schachner 
32  Flotow     . 

3 


Gounod  . 
Saint-Saens 
Guilmant 
Widor      . 


8  French 

26     Dietsch 1 

2     Durand 2 

1     Rousseau  1 

1     Cristiani 1 


11,  Other  Nationalities 


Arcadelt  . 

1 

Cherubini 

2 

Palestrina 

1 

Liszt 

•       •      3 

Carissimi 

1 

Gade 

-       4 

Marcello 

1 

Dvorak    . 

•       4 

Pergolesi 

1 

Silas 

•       •      3 

Righini    . 

2 

APPENDIX    E 

CHRONOLOGY  OF  DEVELOPMENTS  IN  THE  SERVICE, 
AT  TRINITY  CHURCH 

1846. — Consecration  of  the  Church — Service  not  choral — Psalms 
chanted  on  this  occasion  only — Responses  to  Command- 
ments— Anthem — Voluntary  after  Prayer  for  Church  mili- 
tant— Sanctus  and  Gloria  in  Excelsis  to  a  "Service." 
"    — Singing  of  Responses  to  Commandments  stopped. 
"    — Interludes  between  Offertory  sentences  stopped. 
"    — Anthems  given  up  for  two  years. 
1847. — Voluntaries  at  Offertory  resumed. 
1848. — Christmas  Day — Anthems  resumed. 
1849. — Easter  Day — Afternoon — Easter  "anthem"  chanted  before 

sermon. 
1852. — First  Full  Choral  Service,  by  Church  Choral  Society. 
1855. — Consecration  of  Trinity  Chapel;  music  by  Trinity  Church 
choir — Psalms  chanted — Voluntary  after  Prayer  for  Church 
militant — Sanctus  and  Gloria  in  Excelsis  to  a  "Service." 
1857. — Sundays  en  Lent — Benedicite  and  Benedictus  used — Kyries 
now  always  sung. 
"    — Holy  Week — Services  daily,  with  music. 
"    — St.  Andrew — Music  on  Saints'  Days  discontinued. 
1858. — Easter  Day — Floral  decorations  for  the  first  time. 
"    — November — Dr.  Cutler  began  duties — Two  women  in  the 
choir. 
1859. — Change  from  double  to  single  chants — New  books  of  hymn 
tunes. 
"    — Wednesday  in  Lent — Choir  in  chancel — Easter  Day,  per- 
manently— Women  singers  discarded. 
"    — The  Annunciation — Service  begun  with  Magnificat — Nicene 
Creed  to  a  "Service." 

321 


322  Trinity  Church,  New  York 

1859. — Easter  Day — Psalms  chanted,  first  time  on  a  Sunday — Three 
weeks  later,  evening  psalms  chanted — Part  of  service  in- 
toned, with  choral  Amens. 
44    — 4TH  Easter — Choral   responses  in  Litany,   minister's  part 

monotone. 
14    — St.  Barnabas — Music  on  Saints'  Days  resumed. 
44    — 2D  Advent — Service  fully  choral;  continued  permanently. 
44    — 3D  Advent — Gloria  Patri  after  sermon,  in  place  of  Hymn. 
44    — Wednesdays  tn  Advent — Service,  with  choir,  9  a.m. 
i860. — Holy  Week — Choir  walk  in  procession  to  their  places — 
"Miserere"  used. 
44    — Easter  Day — Service  begun  with  a  Carol. 
"    — October — Choir  vestments  adopted. 
1 86 1. — May — Nicene  Creed  chanted  to  8th  Tone  every  Sunday. 

44    — Christmas  Day — Carol  before  service — Carol  after  sermon. 
1862. — Easter — Tallis'  Responses  at  beginning  of  service — Others 
plainsong — Evening  canticles  to  a  "  Service" ;  not  continued. 
1864. — ist  Trinity — Trinity  Psalter  (Cutler's)  introduced. 

44    — December — Chancel  organ  opened. 
1865. — Lent — One  Offertory  sentence  sung. 

1866. — August — Two  verses  of  Psalm  50  chanted  at  Offertory,  with 
Gloria  Patri — Merbecke's  Creed  in  morning  service  first 
Sunday  of  month. 
44    — All  Saints — Processional  Hymns  introduced. 
44    — Christmas  Day — Nunc  dimittis  at  close  of  Communion  ser- 
vice. 
1867. — St.  Mark — First  service  by  United  Choirs  of  Parish — Pro- 
cession round  the  church. 
44    — Choral  daily  service,  for  about  a  year  only. 
44    — Christmas  Day — Entire  Communion  service  to  Calkin  in  Bb; 
not  continued. 
1869. — Holy  Week — Chanted  psalms  used  for  processionals — Cele- 
bration daily,  with  choir — Psalm  130  after  Gospel. 
"    — Good  Friday — Processionals  used — Psalm  130  after  sermon. 
44    — Ascension  Day — A  harp  employed. 
"    — 3D  Trinity — Hymns  Ancient  and  Modern  introduced. 
1870. — 2D    Easter — New   Trinity    Parish    Psalter    (single   chants) 
adopted. 


Appendix  323 

1870. — Ascension   Day — Orchestra   employed — Services   divided — 

Agnus  Dei  first  sung. 
1873. — Whitsun  Day — Music  at  Morning  Prayer  on  high  Festivals 

given  up. 
"    — November — Annual  service  by  combined  choirs  of  Parish 

inaugurated. 
1874. — Holy  Week— Complete  small   choir  employed,   previously 

boys   only — Gloria   Patri   omitted   where   possible — Good 

Friday  no  processionals. 
1875. — Ascension  Day — Procession  down  south  aisle  and  up  center 

aisle. 
1876. — July  4TH — Te  Deum  with  orchestra. 
1877. — Lent — Benedicite  used  exclusively — Gloria  in  Excelsis  sung, 

except  in  Holy  Week. 
1879. — Magnificat  at  close  of  afternoon  service  on  first  Sunday  of  each 

month. 
1880. — Septuagesima — Monthly  service  lists  first  issued. 
"    — Christmas — Harmonized   Confession   in   afternoon — Psalms 

to  Gregorian  Tones  (not  used  again) — Varied  "Amen"  at 

close  of  prayers. 
"    — St.  John — Saints'  Day  services  divided. 
1 88 1. — Good  Friday — Service  of  The  Passion,  first  time. 
"    — Advent — Agnus  Dei  sung;  not  continued. 
"    — Christmas  Day  (Sunday,  afternoon) — Choirs  of  Trinity  and 

St.  Chrysostom — Procession  round  the  church  before  and 

after  service — Three  banners  carried. 
1882. — Ascension  Day — Choirs  of  Trinity  and  St.  Chrysostom,  con- 
tinued annually. 
"    — Advent — Proper    Introit    chanted;    not    continued — Short 

Benedictus  in  Morning  Prayer  adopted  exclusively. 
1883. — Sundays  in  Lent — Litany  omitted — A  Hymn  as  Introit — 

Fourth  Sunday,  service  divided — Agnus  Dei  sung — Hymn 

in  place  of  Gloria  in  Excelsis. 
1884. — Christmas — Agnus  Dei  on  Sundays  permanently — afternoon, 

Psalms  to  double  chants — Extended  Gloria  at  end  of  psalms 

— Sevenfold  Amen. 
1886. — Advent — Entire     "Benedictus     Dominus"     adopted     per- 
manently. 


324  Trinity  Church,  New  York 

1887. — Epiphany — Magnificat  and  Nunc  dimittis  adopted  as  Can- 
ticles, except  on  First  Sunday  of  month. 
"    — Advent — No    processionals — Double    chants    adopted    per- 
manently. 
1889. — Ascension  Day — "Benedictus  qui  Venit"  sung — Not   per- 
manent. 
"    — Advent — New  Psalter  with  double  chants. 


I 


